Duke Draws Sell-Out
Crowd Who Sit On Hands
By DON C. HAYNES
Chicago—Duke Ellington’s second Down Beat concert, held
at the Civic Opera House here in two performances on Sun-
day, January 20, proved another unqualified success commer-
cially, and—while open to controversy—almost as much a
by THE SQUARE
Jess Stacy and Lee Wiley, after
a rest in the pianist’s home in
Cape Girardeau, Missouri, will
go to New York, organize a new
band and break-in around Bos-
ton. Lee, who owns half the band
under 2 corporate set-up, defi-
nitely will continue as vocalist.
. Arthur Michaud, who han-
dles TD, is functioning as busi-
ness manager for Jimmy Dorsey,
too.
Coleman Hawkins is blowing
again at the Spotlight on 52nd
Street. . . . Jimmy Hughes has re-
placed Paul Chapman as_ male
singer with JD. . . . Herbie Fields,
who cut out from Lionel Hampton
to rehearse his own band in Man-
hattan, is said to be set for a six
months’ location job there. .. .
The Buddy Vaughn quintet, at the
Plamor in Cheyenne for 33 weeks.
will be held for four more.
4 Bill Black, former Ted Weems
| manager,in the merchant marine
since 1942, got his discharge and
took over the reins with Henry
» Busse, who opens at the Palace
hotel in San Francisco on Febru-
ary 12. ... Michael O’Shea took
a test for a union card on drums
and triangle, so he can conduct
the Richard Himber band for
kicks. ... Bea Wain (Mrs. Andre
Baruch) is buying baby clothes.
Major R. M. Crawford, who wrote
the army air corps song, gets out
of uniform this month... . “We've
got the worst room and the best
jazz band in the world,” says Maxie
Kaminsky, who opened a basement
hall in Boston this month with Joe
Bushkin as first guest star. Policy
is jazz dances every week night,
jazz concerts every Sunday, no
passes, no sitting in and no liquor!
Carol Bruce is getting raves in
the Helen Morgan role of the re-
vived Show Boat in New York.
. Frank Comstock, Les Brown
arranger, and Sunny Ray, inter-
mission pianist at the New York-
er hotel, are a romance item....
The Bob Eberlys presented their
young son with a baby sister... .
Mary Lou Williams has written
the score for a new musical, Jeb,
how in rehearsal.
[BLUE NOTES
By ROD REED ———!
Those lunar radar experiments
probably will turn out to be merely
a p.a. stunt for V. Monroe’s disc,
Fishing for the Moon.
x x *
Sinatra has bought a piece of a
race track. Might say he’s follow-
ing in Crosby’s hoof-steps.
# * *
Allen Roth’s complaints when
one of his sidemen hits a clinker
are knownas “The Gripes of Roth.”
* = %
Icky Vicki thinks “combo” is a
member of that comedy troupe—
Greucho, Harpo and Combo.
es * *
Contrary to popular beliefs, you
lon’t have to be a beautiful girl to
sing with a band. Can do it just as
well if you’re a handsome boy.
(Modulate to Page 21)
success musically.
The band leader grossed an amaz-
ing $19,800 for the afternoon and
evening performances. With capac-
ity of the spacious Opera House at
3,600, close to 3,700 managed to |
jam into the place for each concert.
About three thousand more were
turned away. Duke’s cut of the
melon came to more than $10,000
—a figure a trifle over scale. This
tremendous draw, coming imme-
diately after his equally successful
Carnegie Hall concert, where again
an overflow crowd was in attend-
ance, demonstrates the complete
hold Duke Ellington has on popu-
lar music audiences.
Occasion of the concert was
the presentation of Down Beat
awards to the Ellington band,
and to Johnny Hodges, Harry
Carney and Lawrence Brown for
victories in the ninth annual
Down Beat musicians’ poll. El-
lington accepted his for his
band’s unusual feat of placing
second in the swing division and
third in sweet. Presentation was
made during the 10:30 to 11 p.m.
coast to coast broadcast over the
ABC network.
Second Beat Concert
Concert was the second in a
series sponsored by the editors
__Cilodulate to Page 12)
Fran Wayne Out of
Herd, Gozzo Joins
New York—Contrary to the re-
port in the last issue of the Beat,
Frances Wayne has left the
Woody Herman band. At press |
no replacement had been |
announced. Miss Wayne, who has |
time,
been with Herman two and a
half years, expects to concentrate
on recording (she records for
Musicraft) and radio, following
a few weeks’ rest. @
She will remain in the east for
the present withesher husband,
trumpeter Neal Hefti, now with
Joe Marsala. Marsala is due to
open soon at the Copacabana for
an indefinite run and then move
to Ciro’s in Hollywood. At that
time, they expect to establish a
home on the west coast.
The Blue Flames, vocal quar- |
now heard on Herman’s |
tet,
weekly broadcast, will join the
band February 22, when it opens
at the Michigan theater in De-
| troit, as a regular feature of the
band.
Another new member of the
band is Conrad Gozzo, replacing
trumpeter Irving Lewis.
Tex Beneke To
Do One Nighters
New York—Tex Beneke’s Glenn
Miller orchestra will do some
one-nighters after a statement
to the contrary, it was disclosed
as the General Artists’ Corp. sub-
mitted the band for two weeks
of touring.
Thirty-five piece band will ask
= nightly, with a 60 percent
cut.
Nancy Reed Joins
Mcintyre Orchestra
New York—Nancy Reed, inter-
mission pianist-vocalist at the
Commodore hotel for several
months, has joined Hal McIntyre
as vocalist. Miss Reed, who is a
Juilliard student and has had
many offers from other bands,
will be presented at theaters pro-
viding her own accompaniment
at the piano.
McIntyre will close at the Com-
modore on February 20, and open
at the Oriental theater in Chi-
cago February 28, for two weeks
with options.
| Gene Krupa, May 18, Ray Mc-
CHICAGO, FEBRUARY 11, NY \ &S) 4
(Copyright, 1946, Down Beat Publishing Co.)
Camera Catches Ellington Concert Celebs
Chicago—The smiling lapelled
gentlemen in the top picture
snapped backstage at the Opera
house have reason to grin. They
are the winners of Down Beat
awards for victories in the ninth
annual musicians’ poll. (Left to
right) Johnny Hodges, Duke
Ellington, Harry Carney and
Lawrence Brown, Center picture
shows publisher Glenn Burrs with
his wife and friends enjoying
the Duke’s concert. (Left to
right) Barbara Falkner, Mr.
Burrs, Tom Herrick (former ad-
vertising manager of the Beat),
Mrs. Burrs, Ed Paro (present ad-
vertising manager), and Mrs.
Herrick. In the bottom snap Mrs.
Hodges congratulates her hus-
band, Johnny, a winnah.
Ginnie Powell
James Chirp
|
Los Angeles—Ginnie Powell,
formerly with Raeburn, Krupa
and Barnet, is Harry James new |
thrush. Singer was to make her
first appearance with band on
opening at Meadowbrook Feb. 7.
James has signed a new drum-
mer, Lou Fromm, to replace Ray
Toland. No other changes in key
spots were expected.
Meadowbrook
Has Big Names
New York—The Meadowbrook
in Cedar Grove, N. J., booked to
July 1, will have Frankie Carle
February 26, following the cur-
rent Stan Kenton; Louis Prima,
March 19; Charlie Spivak, April
2; Vaughn Monroe, April 23;
Kinley, June 11.
Red Rodney To
Gene Krupa
New York—Red Rodney, 18-
year old trumpeter, who has been
gaining recognition for his work
with Elliot Lawrence’s band, has
joined Gene Krupa on the west
coast. Alex Fila, ex-BG ace, re-
placed.
Harry Moss On Own
New York—Harry Moss is no
longer associated with Joe Gla-
ser’s office, having resigned re-
cently to open his own office
here. Moss had previously been
‘with MCA.
Miller Vets
On The Cover
Two veterans of the famous
Glenn Miller band pose for the
cover of this issue. Johnny Des-
mond sang with Miller’s AAF
band overseas, building a repu-
tation which won him his own
radio show (NBC’s Teentimers
Club) on his return. Tex Beneke
played sax and sang with Miller’s
civilian band before the war,
served in the navy himself and
now conducts the new Glenn Mil-
ler orchestra, currently at the
Capitol theater in New York.
2 DOWN BEAT
NEWS
Chicago, February 11, 1946
Barry Gray's Nite Life
Career Ends, But Quick!
By WILLIE WEED
Down Beat Omelette Editor
New York—Barry Gray, who tosses out insults with greater
ease than The Man Who Came to Dinner and generally with |
the same devastating effect, now knows how the other half |
lives. The WOR all night platter-spinner probably realized
he was laying himself wide open to
the heckle and hack department
when he signed on for a scheduled
two weeks, with options, at
Greenwich Village Inn. Performer’s
take would have been $750 per
week, had he finished out—but,
discretion being the etc., etc., etc.,
he bowed out after some ten per-
formances.
He was on stage long enough,
however, for some of those who
had (in the parlance) been lay-
ing for him to lick their chops
and open up with the heavy ar-
‘taken on a new peeve in Gray.
| While the all-nighter’s first club
the | Stand produced a product that
turn |
|}would make a Leghorn
| green with envy, it hardly merit-
| ed the vitriolic treatment Morti-
|mer dished out.
The Morning After
Gray, unfazed and unmarked
iby his first face-to-facer, was
back at the turntable at WOR
saying things like “Here’s a re-
| cording of Symphony by Marlene
| Dietrich—who made many tours
Jubilee Stars Prepare To Record Show |
tillery. He was flayed unmerci-| for Camp Shows and was the
fully in the local prints. with the | most popular entertainer ever to mh.
ae se gfe the main hinting | go overseas. No wonder she was pe
that his material was not only/the most popular .. . she’s the trik
deeply aromatic but also from) only girl who ever kissed every aa
heavy hunger and too violently| member of the American Expe-
indigo. The reviews of his act. | ditionary Forces but she’s
after the opening show, allowed | really a‘nice girl . . . etc.” €
as how he might not even be ere ;
there “by the time you read this”
Play, Phil.
but Gray struggled it out for four |
days or so before giving up the
ghost.
Ray McKinley
No Love Lost © H
Especially unkind to the disc- | S L
jockey was Lee Mortimer, who| ets ineup =
writes a daily soporific for the New York—Ray McKinley, still ¢
Mirror. Mortimer, whose one/ completing the roundup of per- not n
claim to fame has been that he | sonnel for his new band, took the Hollywood—The Benny Goodman Quintet, seen in And at the right we have a very irate looking Krupa years
positively hates (hates, that is!) | outfit out of town temporarily to|top shot, prepare for the AFRS Jubilee recording. who suddenly discovers Joey Preston, the nine year heavy
Franky Sinatra has apparently concentrate on job of building it| Looks like something good will come from BG’s old sensational drummer, stealing most of the ap- for m
into crack crew. efforts. Lower left shows talent procurer, Sgt. Jimmy plause. Joey: ““Who’s the wise guy?” Krupa: “My the ca
C b E d ; Revised personnel at departure McHugh, Jr., chatting with Lena Horne, who has been name is Gene Krupa.” Joey: “Never heard of you.” “bustii
ros y n s listed Evelyn Stallings as girl | a regular since the beginning and is still going strong. Armed Forces Radio Service Photos of syn
R di d er a eae sg + Cur
noted. Entire personnel at this . been |
adio Feu writing follows: Musicraft And Jack Archer To Ray Anthony of an
Hollywood — Bing Crosby, his Peanuts Hucko, tenor sax and © Poet |
feud with his radio sponsor at| Clary; Charles Grant, tenor sax; > Morris Agency Walte
least temporarily patched up, was Harry Wuest and Ray Beller, alto | Gu il Merge Chase De ut rell C
ready to return to his Kraft) sax; Larry Molinelli, baritone | New York—Jack Archer has} was p
Music Hall spot with broadcast| sax; Charles Genduso, Jack ° signed with the William Morris! St. Louis— Indicative of the origin
of Feb. 7. | Steele and Rusty Dedrick, trum- In Disc Deal Agency to replace Billy Shaw,|big build-up MCA is readying
Settlement of differences came | pets; Charles Costoldo and Irv- one nighter booker who joined | for their newest name property,
about with firm’s consent to al-|ing Dinkins, trams; Whitey) Chicago—The disk biz popped the Moe Gale agency first of the | Ray Anthony and his band snare Lan
low Bing to appear only 13 weeks| Woods, piano; Mundell Lowe,| another interesting development|month. Archer, former road|an impressive debut with a_two- upon
of the year on the show. _| guitar; Ward Irwin, bass and Joe | with the merging of the Guild|manager for bands such as |week booking into the Chase going
Rumors had Crosby finishing| Gerace on skins. Teddy Norman | jabe]. includi h ] = | hotel band ot here along
i ; : ; - ; abel, including the complete as- | Woody Herman and Jerry Wald, | 0te1, name na sp ,
— — 4 his 13 weeks to | was doing vocals, with Ed Sauter, | sets of that firm valued at over|just a few months ago joined | opening Feb. 15. ready
ee oe ee ee ee) ee furnishing what Ray/a quarter of a million dollars,|Frederick Brothers. This move| The former navy trumpet fa- Chopi
his + he doer fhe Thm gaa g) ee startling new musical | with y= * records. Merging/was one of the first results of |vorite brought his 19-piece band which
; |marks a further development of |the recent WMA turnover which | out of Cleveland, Ohio, where he pee
the Musicraft label as one of the|found Willard Alexander and|assembled an impressive bunch Fanta
‘ leading disk newcomers. The | Shaw leaving and Nat Kalcheim|of young musicians. Fred Ben- in B-I
Barnet Holds Teen-Age Parties Guild sale was made to the Jeff-| taking over reins of the band|son, who handled Ray’s navy MG!
erson-Travers Corp., which a few | department. activities, is master minding the wagon
Sree /months ago bought complete] Changes were probable in|current Anthony fortunes. a nev
= Poe control of Musicraft. Indications | wyya’s Chicago offices, with Bob ———————— direct
i were that J-T will operate both | phiert due out of the navy for his |New York for a talk which inti- —_ fe
catalogs under the Musicraft | oid Chi one-nighter job. Walter | mates said would mean his re- ae ion
label. Hyde, cocktail booker, was due in signing from the agency. oo
Musicraft_ made news recently SE a ERE a ET ;
mang Artie Shaw signed with the | 2 " ‘ | Scot
rm. Other attractions, which
include several jazz luminaries, Doris Celluloid Junction Bound a
jare George Auld (his Guild rec- = : ’ : : Rhaps
ords will be re-issued on Musi- / sented
craft, a later release informs), : in as
the Phil Moore Four and Phil arrans
Brito. chestr
Guild staff will remain intact, | Artie |
with the idea to fit it in as such Tlu:
into the Musicraft setup. Pro- proacl
duction figures are hoped to be mated
around the million -a- month A com
stage with an LA factory and a/| the pi
new east coast factory set to tempo
operate in March. Guild has a| turnec
plant in Norwalk, Conn. a guid
ings.
‘ >
zs ‘Hampton First | don
o
Los Angeles—Opening up a\Fo | Usus
ease of Coca-Cola and a keg of | r Aquarium shorts
milk Charlie Barnet throws a| New York —Lionel Hampton limina
party for high school editors. |inaugurates a name-band policy | have
Fran Warren, Charlie and Pea-|at the Aquarium on Broadway, Scorer
nuts Holland are all smiles as | Starting March 4, for six weeks. | rigid 1
the teen age ink men wait with | Now going through a remodelling | his mi
breathless expectation, pencils in | job, enlarging the band stand, | A cl
hand, for those words of wisdom | the Aquarium expects to con- partme
on how to a great band |tinue the policy with bands like | vealed
leader. (Below) Not to be out- | Les Brown, Louis Armstrong and | to foll
done by his boss, Phil Barton | Ina Ray Hutton to follow Hamp- | carryil
sings for a very happy looking ton, all of whom are Joe Glaser- | § favorit
group of youngsters at San handled outfits. worker!
Diego teen-age party. Ooop.| Hampton, now on a theater | ° vr ie Stock ¢
and one nighter tour, cut several | @a#sesec ie ; that v
sides for Decca before leaving such f.
New York, two with Bing Crosby, New York—The candy-striped blouse beauty is Doris Day, who Bunny
and will play the Apollo theater, after becoming one of the country’s outstanding vocalists with the & Jerr
Les Brown orchestra, recently announced her intention of leaving
in Harlem February 21, before |
‘opening at the Aquarium. ' the Brown family for Celluloid Junction.
there’s a young man up front
who doesn’t look too happy.
That must be his sweetheart next
to him who seems to be enjoying
Phil’s singing. Watch it Phil!
The kid looks rugged!
Krupa
e year
he ap-
: “My
you.”
Photos
y, who
ith the
leaving
Chicago, February 11, 1946
NEWS
DOWN BEAT 3
Kok
| Two Titans Shake On ‘No Strikes’ |
Chicago—Justin Miller of Los Angeles, left, president of the
National Association of Broadcasters with president James C. Petrillo,
after an “amiable” meeting between the two which aimed at avoiding
strikes of all kinds.
Acme Photo.
Set Cartoon Capers
To Liszt, Chopin Licks
Hollywood—Latest trend in movie music is a heavy _
on use of familiar samples of standard, or classical (as some |
still call it) music in scoring of animated cartoons, Idea is
not new, as it was basis of Disney’s Fantasia feature of a few
years ago, but what with recent
heavy push along same line in scores
for numerous regulation features,
the cartoon comedy lots are literally
“busting out all over” with music
of sympho composers.
Current wave seems to have
been touched off by the success |
of an animated short entitled
Poet and Peasant produced by
Walter Lantz and scored by Dar-
rell Calker, in which the music
was presented practically in its
original form.
Chopin Short Ready
Lantz, satisfied that he has hit
upon a successful formula, is
going to do a series of shorts
along the same line. First, al-
ready in production, will be
Chopin’s Musical Moments, for
which Calker has prepared a
score utilizing the Polonaise,
Fantasie Impromptu, Mazurka
in B-Flat and Scherzo in D-Flat.
MGM has jumped on the band-
wagon in a big way by setting up
a new unit, under the musical
direction of Scott Bradley, who
has already distinguished him-
self for devising interesting mu-
sic for cartoon shorts.
Liszt in Production
Scott’s first production also in
technicolor, will be based on mu-
sic of Liszt’s Second Hungarian
Rhapsody, which will be pre-
sented in its legitimate form but |
in a special adaptation by Scott |
arranged for two pianos with or-
chestra. The pianists will be
Artie Schutt and John Crown.
Illustrative of the new ap-
proach in the scoring of the ani-
mated movies is Scott’s method.
A complete piano sound track for
the picture will be recorded on
temporary platters, which will be
turned over to the animators as
a guide in preparing the draw-
ings. The idea is that the ani-
mation will grow directly out of
the music itself.
Most Studios Active
Usually the scores for cartoon
shorts are devised after the pre-
liminary drawings and action
have been laid out; thus the
Scorer is forced to keep within a
rigid framework in working out
his music.
A check with the shorts de-
partments other main studios re-
vealed that plans are under way
to follow up with cartoon shorts
carrying scores based on concert
favorites, with music research
workers digging into the world’s
stock of standard music for ideas
that will supply adventures for
such familiar characters as Bugs
Bunny, Porky Pig, Jasper, Tom
& Jerry and others.
—meg
ASCAP Case
To D.C. Justice
Los Angeles—Controversy be-
tween Hollywood Palladium and
ASCAP, which reached a point
at one time where dancery held
up payments for several months,
flared again as manager Maurice
Cohen takes the complaint to
Department of Justice in Wash-
ington.
Cohen’s kick originally was
based on his discovery that while
ASCAP had been charging Pal-
ladium $3,000 per year the com-
bined rate for Chicago’s Trianon
and Aragon was only $2,200.
Cohen contended that latter
spots were in same bracket with
Paladium according to the ASCAP
price list.
ASCAP assertedly has since
boosted charge for the Chicago
spots, but Palladium boss does
not regard this as satisfactory
solution as far as his establish-
ment is concerned.
Hollywood
Echos To Lots
Of Good Music
Hollywood—Names familiar to
hip music followers, as well as
plenty of music interesting to the
Same ears, is the current easy-
to-take story of the Hollywood
blvd., Sunset Strip, et al niter-
ies.
Ignoring, for the sake of the
story only, the several big bands
dishing out exceptional music in
these parts, there are more than
plenty of small jazz combos and
soloists holding forth in the in-
numerable Hollywood hangouts.
Art Tatum and Errol Garner
are both here—Art unexpectedly
filling in for two weeks at the
Trocadero, while Garner displays
his marvelous pianistics at the
Susie-Q, a spot which will con-
tinue the big-name jazz policy.
Harry Gibson, who plays fine
Bix-like piano when he feels like
it, is carrying on with his antics
at Billy Berg’s.
The Red Mack band and vo-
calist Kay Starr, accompanied
by pianist Bill Early, share the
new Streets of Paris bill. How-
ard McGhee’s jump outfit moved
off to the Back Stage club in San
Francisco.
The Vivian Garry Trio, expect-
ing their local cards shortly, will
be an outfit to catch. As is, as
everyone knows, the King Cole
Trio, now at the room named for
them at the Trocadero.
Barney Kessel, brilliant ex-
Shaw guitarist, has built an im-
pressive group for local work.
And another ex-Shavian, trump-
eter Ray Linn, has attracted
comment with a combo working
Monday nights at Billy Berg’s
spot. Present Linn group is about
the same as his KMPC unit.
Also around, and worth bend-
ing an attentive ear to are the
Milton DeLugg and Slim Gaillard
groups at Billy Berg’s; Red
Nichols fine horn and combo at
the Morocco; Wingy Manone at
the Gay Inn; Lee Young’s group
at the Down Beat; Kid Ory’s unit
at the Jade and Matty Malneck
at Slapsy Maxie’s. And Joe Lig-
gins, responsible for the Honey-
dripper rage, has returned to
town for a date at Shepp’s Play-
house.
Dissolve Partnership
Hollywood—“Hollywood House
of Music,” record shop operated
by Al Jarvis and Eleanor Roy-
croft, has been tagged for sale
for the receiver. Jarvis and Miss
Roycroft had agreed to dissolve
their partnership without court
trial of issues involved in their
business split.
| Cake Eaters Celebrate Tune
Home. Helping him to celebrate,
botham and Don Redman.
Times, Pick
over the legendary Pee Wee Russell.
In other instances, Charlie Ven-
tura and Flip Phillips topped the
tenor saxes and Willie Smith took
a place in the alto saxes, with
Pop's Airer Is
But Impressive
Hollywood — Paul Whiteman,
who brought his Philco airshow
to town recently, has launched
an impressive, heavy budget ra-
diopus on the ABC net Monday
(6:30 PST) evenings. Show, a
musical fare drawing on old time
hit tunes, is called Forever Tops,
and features songstress Eugenie
Baird.
Many of the hit tunes of the
20’s—when “Pops” was at his
heights with his popular band—
will be brought back to life for
the show. A powerful bid for top
radio rating, the show was intro-
duced as a sustainer with little
trouble expected in interesting a
big bankroller.
Regular male singer for the
show was not set, as Guy Cher-
nez, Paul Frey and Paul Neigh-
bors all held guests spots prior
to tagging one of them as the
feature.
- “ &
aw
Ys
e
>
Los Angeles—Milton DeLugg, the accordionist who
attracted much attention in a small band headed for
a time by Matty Malneck, rehearses what is believed
to be the first service-formed music unit to move
into a civilian engagement. The vet outfit is playing
DeLugg Rehearses Service-Formed Unit |
Readers Keep Up With
New York—Backstage at the Strand theater, Lionel Hampton threw
a festive little party celebrating the anniversary of the tune Flying
and, incidentally, eat the cake, are
(standing to Hampton’s left) Louis Armstrong, Buddy Rich and Sid
Catlett. In the background you may see Red Allen, J. C. Higgin-
New Faves
We mentioned before that two of the most surprising up-
sets in the recent Down Beat poll occurred when Bill Harris
won top place over J. C. Higginbotham in the trombone sec-
tion of the all-star band, and when Buddy De Franco climbed
pet section. Three new members in
the rhythm section are drummer
Dave Tough, bassist Chubby Jack-
son and guitarist Oscar Moore. New
male vocalist is Stuart Foster.
But, whereas it did seem that
Higginbotham and Russell were
in an awful rut, (just like the
voters) never to climb out (must
get monotonous winning year
after year) and no one was ever
going to put them down, Bill
Harris and Buddy De Franco did
just that.
Steady Improvement
However, Harris and De Fran-
co, like the rest of the new mem-
bers in the all-star band except
for one, have been making steady
strides towards the top during
the previous years of the contest.
In 1942 and 1943, De Franco
placed third and second respec-
tively, and at the close of the two
mentioned years, Harris placed
twelfth and ninth.
Both are Philadelphians. Har-
ris, unquestionably a great artist,
has worked with Bob Chester,
Benny Goodman, and before
joining Woody Herman, fronted
his own group. De Franco was
once a member of the Johnny
“Scat” Davis, Ted Fio Rito, Gene
Krupa and Charlie Barnet bands
before joining Tommy Dorsey
-| about two years ago.
Inevitable, Though!
So, although Harris’ and De
Franco’s winning over the peren-
nials, J. C. Higginbotham and
Pee Wee Russell, came as a sur-
prise to most, it was inevitable,
even if it did happen before 1954!
Next, attention is called to the
new male band vocalist, Stuart
Foster. His climb has not been
gradual, steady, or by leaps and
bounds, but practically overnight.
| | Stuart has not even as much as
| placed in previous Beat polls, or,
for that matter, in any other. So
it would seem even more phe-
nomenal that he should win, by
|a good margin, over others who
have enjoyed a certain measure
|of popularity in past years.
| Among the band vocalists, no one
is more deserving than he.
He’s Tops Now
More amazed about the victory
| than his many new fans, he be-
| lieves that “you are as big as the
organization you are with,” but
| perhaps an organization is as big
jas the people comprising it. He,
| however, bases his contention on
| the fact that nothing happened
| during his stay with other bands.
Nevertheless, reading from top to
bottom, he’s tops now.
Stuart Foster is from Bing-
hamton, N. Y. He sang with Ina
at Billy Berg’s hotspot on Hollywood Blvd. Side-| Ray Hutton’s band for four years
men are Abe Most, clarinet; Many Stevens, trumpet;|and Guy Lombardo six months
Herman Saunders, piano; Tony Rizzi, guitar; Lou
Paino, drums; Bob Hartley, bass.
prior to joining Tommy Dorsey—
about ten months ago.
—eve
‘ DOWN BEAT CHICAGO NEWS
Chicago, February 11, 1946
Negro Musicians
Hail Shaw To Gale
New York—Recent shakeup in
William Morris office which saw
Billy Shaw shift his activities to
the Gale Office is being hailed
| Really With It | euySpoO<
gam = SAND >
2& BRIEES
with high glee by Negro musi-
cians and bandleaders here. They
saw in the switch the definite
possibility of many new loca-
tions being opened to them as
the result of Shaw’s admittedly
wide connections—the outgrowth
of his many years in the band
business.
FLASH—Chicago will get a
new ballroom—the old French
Casino at Clark and Lawrence
avenues on the north side—
which will feature name swing
bands. Spot will be named the
Rainbow ballroom and is set to
open on March 12 with Tommy
|| Dorsey’s band for the first week.
Jubilation among race bands-
men and small combos stems
from the fact that Gale easily
ranks as the leading organization
among those giving attention to
Negro bands.
Shaw, generally accredited as
the man responsible for the
phenomenal success of Charlie
Barnet and the rise of Billy Eck-
stine, joined Gale as exec VP
after purchasing an interest in
the firm, which is expanding. Di-
staff assistant Billie Miller con-
tinues as Shaw’s aide in new
Gale set-up.
which Earl Hines has part in-
interesting) periods, will con-
tinue to book top bands after the
“Fatha” moves out in mid-
March.
Evidently Hines has built up
business in the club to such a de-
gree that large bands will be worth
the price. First unit set to follow
Hines is the new Roy Eldridge
band, with a March 15 opening al-
ready inked. Next crew will then
be the much-discussed Gerald Wil-
son ork. Hines, or whoever is re-
sponsible for the bookings, came
through with some smart work.
Another new south side spot,
featuring exceptional colored tal-
Chicago—Vivian Martin, the
young Gay Claridge chirp, who
sings nightly at the Chez Paree is
as lovely as the locket about her
throat. This is the first big break
for the Windy City youngster
who has been singing three years.
is the Stairway-to-the-Stars, as
ent, opened late last month. Club |
it’s called, and musical attrac-
tions are definitely on the strong
side with Dallas Bartley’s stimu-
lating combo combining with the
excellent ballad and blues sing-
ing of Joe Williams, the ex-
Hampton star.
Eldridge goes into the Regal
theater as a package deal with
Dorothy Donegan, for one week on
March 8—just preceeding his El
Grotto date. Theater has been using
the best of sepian bands. Billy
Eckstine, in particular, did a bang-
up week there last month. Set for
the week beginning Feb. 22 is Duke
Ellington.
Hal McIntyre plays his first
local date since early last year
|with an Oriental theater book-
ing for two weeks with options,
opening Feb. 28. Ina Ray Hut-
The south side’s El Grotto, in|ton’s new band, which should
: |prove interesting with a bookful
terest, and which has featured | of George Handy arrangements
the Hines band for long (and |avyailable, is currently on the
| Oriental
| Thursday (7th) for two weeks.
boards. She opened
The Panther Room is still shop-
ping for a band for their July
calendar. Last reported was Vaughn
Monroe having the inside track
over Buddy Rich. It’s still that way,
though now Alvino Rey’s exciting
new band is also in the running.
Sonny Thompson, about whose
large band last summer at the
El Grotto much was written and
little happened, is now doing a
single at the Vanity Show
Lounge, 3800 North Broadway.
With Sonny’s wonderful pianist-
ics (and he’s second to no other
local pianist I can think of) and
the fine trio that Billy Samuels
“Little Jazz" himself .. .
Sweet Sve, and eight others.
C. E. McCORMIC, Trumpeter
with
“Dacita and Her Orchestra”
7
>
*
() TRUMPET RHAPSODY
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Musicians, everywhere, appreciate the ease of
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tone of HOLTON Instruments. Mr. C. E. Mc-
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club engagements — has played HOLTON Trum-
pets for a number of years. His is the privilege of
receiving the first post-war HOLTON trumpet
delivered in New York City.
The new HOLTONS are now on display at
your dealers’. Inspect and order the instrument
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FRANK HOLTON & CO.
ELKHORN, WISCONSIN
Goodman's Orchestra.
CD FIESTA IN BLUE
publications below.
SOLOS!
Modern solos by today's
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DIZZY GILLESPIE Waa
(CJ DIZZY GILLESPIE TRUMPET STYLES
A folio of five groovy originals by the great
jozz stylist . . . Night In Tunisia, Bee-Bop, Dizzy
Atmosphere, Groovin’ High, and Trumpet Jive.
ROY ELDRIDGE
(1 ROY ELDRIDGE’S NEW STYLE FOLIO
Terrific interpretations of popular standards by
Exactly Like You,
HARRY JAMES
Harry James’ solo arrangements of favorite
classics and his own trumpet masterpieces.
() TSCHAIKOWSKY'S CONCERTO IN Bb MINOR
(0 TRUMPET BLUES AND CANTABILE
CHARLIE SPIVAK
Sweet music by the man who plays it best.
COOTIE WILLIAMS
A great solo as played by Cootie with Benny
(EACH OF THE ABOVE SOLOS OR FOLIOS IS
COMPLETE WITH PIANO ACCOMPANIMENT.)
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MAKERS OF QUALITY BAND INSTRUMENTS
Berle Adams Named
Mercury Talent Head
Chicago — Berle Adams, per-
sonal management agent who
went big time with Louis Jordan
and “44 Farrell, has been ap-
pointed head of Mercury record’s
talent selection division. He has
just inked the Buddy Morrow
and Vincent Lopez bands and
thrushes Dinah Washington and
Connie Haines.
Ex-Staffer To Cosmo
New York—Jo Ann Burton has
become Herb Hendler’s assistant
with Cosmo records here. Jo Ann
was formerly booker Sol Tepper’s
secretary, before that secretary
in Down Beat’s Chi office.
has there now, this spot is the
place to go when searching for
some relaxed but tasty jazz.
Sonny is the type to make a
much better go as a single than
a big band leader.
Barrett Deems has the new trio
at the Capitol, opposite the Tay
Voye Sextet. Tay’s outfit is on a
fine kick of late, and deserves much
better than the noisy Capitol. Unit
should be a natural for a hotel spot
- « « Max Miller is still making
changes in his trio, at Elmer’s, with
guitarist Jimmy Raney continuing
on and settling down to some inter-
esting single string. Max lost a
good drummer when Kenny Smith
left ... Ed Penigar is in as a single
with the Sharps and Flats, just out
of the navy, at the Bar o’ Music on
Howard st. . . . Henry Lishon
formed a good outfit of 12-pieces
for the new Frolics club. . . . But
the Charles Victor outfit at the New
Horizons room of the Hotel Con-
tinental is something else. Trudy
| Marsh, ex-Buddy Franklin chirp, is
| ining with Victor. ... Chuck Fos-
ter, always a fave at the Black-
| hawk, had his option taken up. He
also signed with Mercury records.
The Blackhawk, which is square
otherwise, is the one spot in town
| where, it seems, the vocalists outdue
themselves for lush gown creations.
Jeane Shirley, with Harry Cool, had
some eye-opening costumes. Now
along comes the veddy lush and
provocative Marilyn Paul, with
some gowns that just aren’t pos-
sible! And the way Miss Paul fills
them out isn’t to be written!
Eddie Wiggins still going on at
the Brass Rail, with his six-piece
outfit dishing out a brand of
modern jazz that is only rarely
heard, in these or any parts.
Gang deserves an article to
themselves, not just a mention
here—which we'll do next issue.
—alon
A Request For
Jack Jenney Discs
Chicago—Jack Jenney’s rec-
ords, collector’s items during his
lifetime, have become invalu-
able with the great trombonist’s
passing. In the interest of re-
issuing Jenney masterpieces in
album form, as well as filling a
special request, perhaps some
jazz fan will answer this request
by John Jenney, father of Jack.
r. Jenney’s letter follows:
It looks like I will have to ask
your cooperation in trying to
locate two of the recordings of
Jack Jenney, which were cut on
Vocalion. One is his recording
of Stardust and the other is The
World Is Waiting for the Sun-
rise. I am willing to pay for
these two recordings, or will bor-
row them and run off copies and
return them if necessary.
There is already interest
shown and inquiries made as to
a Memorial Album. He has cut
enough sides for Vocalion to
make up a very fine album. In
1934 Columbia cut ten sides un-
der the Red Norvo name, in
which every one featured Jack,
so Columbia could make up pos-
sibly one of the most attractive
albums, which the musicians
would go for.
Any information at this time
will be greatly appreciated in the
assistance of locating these two
records, or concerning the album
idea.
John Jenney
Published by-weekly by Down Beat Publishing Co., Inc., 203 North Wabash,
Chicago 1, Illinois. Subscription rates $4 a year, $7 two years, $10 three
years in advance. Same price to all parts of the world. Special military
rates, $3 per year. Changes of address notice must reach us three weeks
cannot be sent and
203 North Wabash,
before date effective. Send old address with your new. Duplicate copies
office will not forward copies. Circulation Dept.,
hicago 1, Ill. Send subscription for United Kingdom to
Francis, Day G Hunter, Ltd., 138 Charing Cross Road, London, W.C. 2, England.
matter January 24, 1946, at
Act of March 3, 1879. Additional entry at Milwaukee, Wis. Copyri:
by Down Beat Publishing Co., Inc. Member of Audit Bureau of Circulation.
Printed in U.S.A. Registered U.S. Patent Office. Entered as second class
the post office in Chicago, Illinois, under ae
t, 1946,
Chic
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Chicago, February 11, 1946
NEWS
der the
it, 1946,
culation.
By Mike Levin
Teddy Wilson vs.
Art Tatum
I just got through saying that
the sole function of a critic was
to analyze what musicians are
doing and what they are trying
to do, and that both you and I
should stop worrying about mak-
ing comparisons! So this week
comes a comparison!
However there is a real reason
for it this time: Teddy Wilson and
Art Tatum have many things in
common with their styles—it isn’t
like that Xavier Cugat-Duke Elling-
ton query over which I got mad last
time. Also I think that comparing
them shows up what is one of the
most crucial conflicts in modern
styling, about which I have very
strong personal feelings. I am
foisting them off on you, only be-
cause I think right now the water
is muddy, and needs a little stirring
to settle.
Put it this way: Tatum and
Wilson both obviously fell into
the Grey and Mood categories.
We can skip the Dance phase,
and they aren’t concerned with
the Vocal. Tatum probably has
a faster technique of the two, a
more complex grasp of harmony,
more varied ideas. However Wil-
son, in my opinion, has better
phrasing (that is, a more conse-
quent grouping of the same sort
of ideas), a more singing tone,
a sense of restraint in which
Tatum is lacking, in that he
doesn’t run mad with arpeggios
and complicated riffs as Art
sometimes does.
Now here is where I should shut
up—that is as far as I think any
critic has a right to go.
stated as concisely as possible what
I think the differences are. The
final judgment should be up to you
and none of my business. However
this particular case shows a lot of
things, so I stick my neck out.
Tatum is the master techni-
cian, often with new, forceful |
ideas. All that Teddy has to ped-
dle against this is tone and an
exquisite sense of taste and re-
straint. You may remember one
rule of the three we laid down |
in an old column: throughout
art, simplicity of expression has
shown itself to be fundamental.
Okeh, we must now make a
choice: simplicity over complexity.
Wilson’s taste over Tatum’s virtuos-
ity.
to, both have more real musical
talent at their command than most
of the musicians of the land, but I
personally prefer Wilson, and want
to make clear why I do.
These days there is a tremen- |
dous tendency to technique and
virtuosity for their sake alone.
Classical piano went through this
phase with Liszt and finally came
out of it. Virtuosity of Tatum’s
sort is a marvelous thing, but
virtuosity, even at that level, is
easier to duplicate than the sort
of taste in choice of ideas, phras-
ing and dynamics that Wilson
has. Tatum’s style is tangible,
something that a pianist with
talent can approach with years
of practice. Wilson’s is something
intensely personal, much harder
to find, and to me, much more
distinctive. I have heard several
I have |
Both are wonderful to listen |
Beat Winners
Pack Them In
Los Angeles — Down Beat’s
Award Winners concert drew a
completely sold-out house into
the 2300 capacity Philharmonic
aud night of Jan. 28 as more
than two thousand others were
turned away.
Award winners of Down Beat’s
1945 All-Star Band featured were
Charlie Ventura, Willie Smith,
Mel Powell and Nat Cole. Other
musicians participating were
Lester Young, making his first
appearance since leaving the
army, Dizzy Gillespie, Arnold
Ross, Lee Young, Billy Hadnott,
Howard McGhee, Charlie Parker,
Al Killian and the Gene Krupa
Trio. Session was staged by Nor-
man Granz.
Award winners Benny Good-
man and the Pied Pipers ap-
peared for their trophy presen-
tation, accomplished en masse
during an intermission by Charlie
Emge, Beat’s coast scribe.
Musicians were divided into
groups and appeared in two
separate sets, with drummer Lee
Young and bassist Billy Hadnott
turning in excellent support all
the way through.
Only performer who did not
O'Day. Helen Humes replaced in
the vocal spot.
Hollywood — James Crawford,
longtime member of the Jimmie
Lunceford band, was expected
to be in the hide-pounding spot
with Stan Kenton when the lat-
ter opened at New Jersey’s Mea-
dowbrook Feb. 5.
pianists who sounded like Tatum
to me at first, never one who
sounded the least like Wilson.
I don’t say that I am right, that
Wilson is “better” than Tatum.
But in this day of skin-smashing
drum solos trumpet forensics,
siren-screaming clarinet solos, I rec- |
ommend to your attention a style
that doesn’t depend on any of these |
sensationalistics to command your
attention, but relies solely on the
|appeal of simplicity and taste. Ta-
|tum is a tough contrast because he
IS so good at what he attempts. I
think | have a much better case
against an Artie Shaw—but him we
will leave for next time. In the
meanwhile, I suggest you listen to
Teddy play Sweet Lorraine and
learn how a piano can sing.
ODESSA COWAN
| This is the true name of this
| charming band leader, who recently
|reorganized her orchestra and is
playing currently
on the stage of the
‘Oriental Theater
in Chicago. She
was born in the
Windy City and
her mother, once
a professional
pianist, was billed
_ as Marvel Ray.
The daughter,
originally a tap
ancer, first head-
ed an all-girl!
dance band but
more recently has conducted only
all-male combos. She has a pretty
|sister who has made a name for
| herself as member of a_poll-win-
|ming vocal group. You know this
| leader as:
| NOLLQH AVY VNI
i a
for two or four week
Register now .
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MUSKEGON, MICH.
Dept. DC
appear per schedule was Anita |
Liz Tilton Takes
Krupa Vocals
Hollywood —Liz Tilton has
taken over the vocal spot with
Gene Krupa as Anita O’Day sud-
denly walked off the Palladium
bandstand one night and did not
return. Liz, sister of Martha,
first attracted attention chirping
for Jan Garber, at the Palladium
a couple of years ago.
Carolyn Grey, who has been
singing at the dance spot with
D’Varga’s intermission unit, took
walked out just a half hour be-
fore a coast-to-coast broadcast,
saying she was ill and couldn’t
continue.
‘Ted Nash Date
New York—Ted Nash, tenor-
man with Les Brown, fronted a
group at a record date for Key-
|}note here last month, which in-
|cluded Trigger Alpert, bass; Jeff
|Clarkson, piano; Joe Thomas,
| trumpet and J. C. Heard, drums.
|Maria Bryant did the vocals
|on Pocket Full of Dreams and
Sunnyside of the Street. Other
|numbers cut were Wick’s Kicks,
over for a few days. Anita had |
Veddy Fresh |
New York—Just back from a
long USO tour looking and feel-
ing fresh as a daisy, Joy Hodges
went right to work on NBC's
Honeymoon in New York, a five-
day-a-week salute to those about
to wed and stuff. The Joy gal
has worked in musical comedy,
films and sang with Glenn Mil-
ler’s band.
DOWN BEAT 5
|| At Town Hall
Billie’
illie's Blues
New York—Billie Holiday, who
may or may not have taught
Frankie Boy to bend those notes
(she was doing it a long time be-
fore he was) will make her debut
as a concert soloist at Town Hall
next Saturday (16). Affair, pre-
sented by Robert Snyder and
Greer Johnson, is scheduled to
get under way at 5:30 PM and
the singer will be accompanied
by such jazzmen as Joe Guy,
trumpet; Tony Grimes, guitar;
Joe Springer, piano, and John
Simmons, bass.
Although Billie has sung on
many concerts, she has never
been starred on her own. In addi-
*|tion to most of the songs for
which she is noted, Billie will
sing a group of her own composi-
tions to highlight the program.
These numbers include»the well
known blues and the new Don’t
Explain she waxed for Decca.
Miami—Tony Pastor’s band in-
augurated a name band policy at
the remodeled Flagler Gardens
with a week’s date on Feb. 3.
Sonny Dunham follows until
April 1. Bookings are being set
by GAC’s Art Weeins.
| Be in the “spotlight”
SF. Reynolds COMPANY, INC.
2849 PROSPECT AVENUE °
Division of Scherl & Roth, Inc.
CLEVELAND 15, OHIO
6 DOWN BEAT
LOS ANGELES NEWS
Pollack Takes
Over Jewel
RecordAssets
Hollywood — Ben Pollack has|
taken over complete control of
the Jewel Record Co. by purchas-
ing interests of all others con-
nected with the firm. Harry
James, who had been rumored
as having an interest in the firm,
finally wound up on the outside
as Pollack, who actually discov-
ered James several years ago and
brought the trumpet player out
of Texas, took over all assets.
Jewel’s artists currently in-
clude singers Kay Starr, Betty
Bradley, Bob Graham and the
Boyd Raeburn band.
Sidelights of the Jewel trading
was that James might take over
the backing of the floundering
Raeburn band. Then, too, if his
interests in the wax firm would
have materialized he would have
had an outlet to record the sev-
eral jazz stars within his band,
as well as affording tenorman
Corky Corcoran with a recording
— for his contemplated new
band.
James interest in the Raeburn
band is still active, at least more
so than that of the William Mor- |
ris Agency, which is oappeeey |
booking the band. ifferent
agreement could easily be)
reached if the band’s deficit to}
the agency, in the neighborhood
of $40,000, would be cleared.
|
Benny Goodman |
Hires Vibe Star |
Los Angeles—Latest addition to
Benny Goodman band is Johnny
White, young vibraharp player
and arranger. White was intro-
duced to Benny by Freddie Good-
man, who has been talent-scout-
ing for his brother here.
Other changes in Goodman |
line-up brought in Nate Kazebier |
to replace Conrad Gozzo, trum-
pet, who left to join Woody Her-
man; and Gish Gilbertson to re-
place Peanuts Hucko, tenor, who
is joining Ray McKinley.
Platter Firm Launched
Los Angeles—Al Williams, local
business man with fondness for
hot music, is latest to launch his
own platter label, waxing under
name of Encore records. First |
discs were cut by combo headed |
by trumpet man Ray Linn and
the new Page Cavanaugh trio.
There Goes Benny's Clary!
Culver City—At the Benny Goodman opening at the Meadowbrook,
Jerry Colonna thought he would like to toot a bit on BG’s famous
instrument. With his mouth stretched wide Jerry looks as if he is
about to swallow rather than just toot. BG doesn’t look too concerned,
Jerry’s talents(?) don’t scare him.
a
a “ey +
we
J mh
\
~
NLY A GIBSON
1S GOOD ENOUGH!
To make the most of your musicianship, be sure
to insist upon genuine Gibson strings, first choice
of professionals everywhere. Handmade of
Mona-Steel and bronze to exacting Gibson
specifications which tolerate nothing but the
best quality and workmanship. At your dealer's.
BUEGELEISEN & JACOBSON
5-7-9 UNION SQUARE. - - - NEW YORK, N. Ys
to Cenade'= 480 UNIVERSITY AVE., TORONTO,
Chicago, February 11, 1946
'VOS ANGELES
BRIEFS
Moving from the Orpheum
theater to the Casino Gardens,
Charlie Barnet lost star trump-
eter Al Killian somewhere en
route. Al, famous for his high-
note work, will either form his
own crew or join guitarist Bar-
ney Kessel’s combo in Holly-
wood. . . Gerald Wilson, the ex-
Lunceford trumpet and arrang-
ing genius, who heads what
many believe to be one of the
most promising of new bands, is
set for a stand at Earl Hines’ E]
Grotto in Chicago. . . Valaida
Snow and band coast theatour-
ing currently.
Bobby Ramos has a new 18-piece
outfit at the Trocadero, replacing
Russ Morgan. Better news to hip-
sters is the King Cole Trio in the
room named for them. . . Lawrence
Welk took that Aragon date previ-
ously reported due for Freddie
Nagel. . . Jewell Hopkins, singer
with Don Carper, was slated to take
the vocal spot with Bob Crosby’s
crew. Bob’s at the Palladium.
Notings Today
Johnny Wittwer, New Orleans
piano stylist, who subbed for
Buster Wilson with Kid Ory band
during Buster’s recent illness, is
currently the solo feature at the
House of Lisle in Beverly Hills
.... Ray Bauduc understood to
be dropping band plans to take
hidespot with well known name
outfit in order to establish him-
self as a top-rank four-beat man.
Carl Auer, one of the original
Music City gang (he set up the rec-
ord department) is back on the job
at Sunset & Vine after 20 months
army duty in England. He went in
as a private, came out a captain.
«+ That Tempo Music Shop house
organ is so good that if Ross Rus-
sell isn’t careful he'll find himself
in the publishing business instead
of running a disc dispensary.
Floyd Balsley, who played sax
in Texas and elsewhere as an
early-day bandmate of Harry
James, Jack Teagarden, Wingy
Mannone, Peck Kelly, is now jug-
gling notes for brother Clyde
(Music Preparation Service) Bal-
sley. . . . Dave Hyltone, west
coast manager of Harry James
publishing interests, has set up
new offices at 1537 Vine.
To Drop Cooley
Charges In L. A.
Los Angeles—Spade Cooley, ar-
rested sometime ago on charge
that the wolf got the better of
him while driving his girl singer
home from a job, might not have
to face court trial on the charges.
The coast’s leading barnyard
bandsman might have to face a
grand jury, however, for the
D.A.’s office is considering such.
A Superior Judge ruled that the
story the singer, Ruth Reece,
gave was “inherently improb-
able.” Gal claimed she had been
forced to bite Cooley’s ear and
crawl under a nearby car to
escape.
Jimmie Grier Pulls
Through Emergency
Los Angeles—Jimmie Grier,
Biltmore hotel maestro, was
rushed from his job to the hospi-
tal Jan. 18 for an emergency op-
eration for appendicitis that,
doctors stated, barely saved his
life. Another hour’s delay would
have proved fatal.
Billy Hamilton, saxman-vocal-
ist, fronted the Grier crew and
od leader was recovering rap-
y.
Lew Pollack, Famous
Melody Writer Is Dead
Los Angeles — Lew Pollack,
composer of melodies to long list
|of songhits that included Two
Cigarettes in the Dark, Char-
maine, Diane, and several others,
died here Jan. 18 at a local hos-
ital. He was 52 years of age,
eft a former wife and two sons.
actre:
singe
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Chicago, February 11, 1946
HOLLYWOOD NEWS
By Charlie Emge
In The Harvey Girls MGM
comes up with another techni-
color opus of that archaic type
in which musical numbers are
inserted for no special reason
into what otherwise might have
been a fairly good “straight”
screen drama. If we must have
“musicals” the music should
have sufficient value as such to
warrant the attention.
The one song in the picture that
even rates a mention, The Atchison,
Topeka and the Santa Fe, was a
good enough pop song but it has
already been “dead” for months.
And then Judy Garland, though she
has grown into a truly capable
actress, no longer appeals as a
singer as she did in her Over the
Rainbow days.
Kenny Baker, making his first
screen appearance since his re-
lease from military service, is, as
always, a pleasing, unpretentious
singer, but when you put a singer
in a picture to sing one song
that song should be of some con-
sequence.
Maybe we're just crabby. After
all they can’t get a Kern, a Gersh-
win or even a Rodgers to write the
music for all of the Hellywood
filmusicals,
Bandleader Not Too Bad
In I Love a Bandleader Colum-
bia has turned out neat little
“B” picture which is better than
the general run of sustaining
features, but the producers pass-
ed up the chance to capitalize
on the musical side of the story.
The band which Phil Harris
leads in the picture is strictly
“side-line” working to a sound
track carrying slick but undistinc-
tive music. Nearest thing to some
personalized music is supplied by
an all-girl specialty group, “Ivy,
Vern and Von with Mata Roy at the
Piano.” The girls did their own
recording. Can’t give the name of
the vocal double who sang for Les-
lie Brooks.
Lot Lingo
Score of Humoresque, forth-
coming Johnny Garfield-Joan
Crawford starrer, will not be ex-
clusively “classical,” as originally
planned. The modern popular
field will be represented by such
songs as My Heart Stood Still,
Someone to Watch Over Me, Em-
braceable You.
Harry James and crew report to
20th Century-Fox around April 1
for next picture assignment. .. .
The “Teen-Agers” ork from the
Hoagy Carmichael airshow caught
two movie shots recently, a spot in
Republic’s One Exciting Week and
a feature role in Paramount musi-
cal featurette entitled Double
Rhythm. ... We spotted Artie Bern-
stein (bass) of the old Benny Good-
man band recording at Universal.
~.+ The next big revival hit will be
Who’s Sorry Now (1922) on
strength of heavy play it gets in
Marx Brothers’ forthcoming re-
Ted Vesely
Recovers
Los Angeles—Ted Vesely, trom-
bonist with the Claude Thornhill
navy band, who was seriously in-
jured in a jeep accident on New
Caledonia, will be able to play
again within six months, doctors
believe.
Vesely, still under treatment,
is suffering from partial paralysis
on facial muscles and impaired
vision. In the accident, the trom-
bonist sustained a skull fracture
and severe cuts and bruises.
Prior to naval service, Vesely
was with Benny Goodman. For
a time he was head of the music |
unit at the Farragut naval train-
ing station in Idaho.
Chirps For Al Pearce
Hollywood—Young Pat Bolton
is the new chirp on the Al Pearce
network show. Pat is the daugh-
ter of Lou Bolton, manager of
the Boyd Raeburn ork.
Johnny Clark In Russell Movie
Hollywood—The “outlawed” Jane Russell and Louis Hayward are
seen in the above dramatic shot in a movie featuring singer Johnny
_Clark, husband of our own Dian Manners.
jerker theme in his score for
Since You Went Away uses ’Til
We Meet Again, World War I
song, to same end in Tomorrow
Is Forever, soon to be released.
leon A Night in Casa Blanca. It
has been waxed by Bing, Harry
James and Eddie Heywood.
Max Steiner, who made such
good use of Together as tear-
Hollywood—Betty HutSut Hut-
ton is fightin’ the Battle of the
Bulge—she’s reducing. . . Vincent
Youmans, the Without a Song
guy, is going to find himself with-
out a wife—she’s getting the di-
vorce. . . When Betty Grable’s
daughter visited the set of 20th’s
The Shocking Miss Pilgrim and
saw Betty and Dick Haymes in
the midst of a romance-scene the
chee-ild broke it up by scream-
ing “That’s NOT my daddy!”
Irene Dunne wants to do a stage
musical—after fifteen years away
from Broadway. . . Lauritz Mel-
chior, who sings, will leave for Den-
mark in March to chirp for the
American troops still over there. . .
The boys are pantingly awaiting
Lana Turner’s return from Rio.
They just know she'll bring back
some new songs and dances. And
even if she doesn’t! Wot?
Gloria DeHaven is much im-
proved. . . Tony Martin is keep-
ing Rita Hayheyworth warm—
for Vic Mature, sez the rumor...
Kathryn Grayson, the Metro
singer, is really serious about
being an opera singer and is up
on the scores of ten operas. .
Says Lewis
PLENTY OF POWER”
Send for special circular No. 5
She H.N.
Suncd and Or
é
Irving Lewis PLAYS A
STERLING SILVER BELL KING
“UNEXCELLED BRILLIANCE,
EXTREME FLEXIBILITY,
today!
WHITE Co.
_DOWN BEAT 7
By the same token, Susanna
Foster refuses any more movie
roles—and is cramming on her
opera scores.
Rudy Vallee and crew are opening
at the Club Moderne in Long
Beach. . . Russ Morgan will make
a feature-ett at Universal. . . Alvino
Rey, who’s been attractin’ the kids
to Casino Gardens, is off on a gang
of one-nighters. . . Just when every-
one was saying Anita O’Day had
found her proper niche with the
Krupa band—she upped and quit.
Johnny Clark is being paged
by Republic for the Earl Car-
roll’ Sketchbook pic. . . Curtis
Mosby is opening the new Mosby
Palladium on Central Ave., a fine
joint which will accommodate
9,000 dancers and which has 23,-
000 square feet of floor space.
GH T
Books
ras THE
!
BecereTiON. SST THE! cr ws
|
96 PAGES of interesting, easy to under-
stand studies and solos in HOW TO MASTER
THE “26” RUDIMENTS ond apply them to
all forms of modern rhythms. A revelation
in instruction books. Price $2.00 Postpaid.
The “26” Rudiments skillfully blended. A
TOUCH OF “SWING” for bn makes this
book a modern
technique. “Swing licks” F Temehy street
beats and Contest Solos galore. Price
$2.00 Postpaid.
No. 3
x et ona LIBRARY
48 PAGES of the most talked of book ever
written for the modern drummer. The “26”
Rudi ts smartly dintoa plet
series of advanced studies and solos in
“SWING” and FOREIGN RYTHMS. Builds
technique to an amazing speed. Price
$1.50 Postpaid,
alee
Seats
CHARLEY WILCOXON’S DRUM SHOP
THE ARCADE
CLEVELAND 14, OHIO
8 DOWN BEAT RECORD REVIEWS Chicago, February 11, 1946 =F ciicac
| out, particularly on joes i hows, send, ges more should be heard
is wonderful. Aaron Sachs, Teddy rom
| Keeps Too Busy | Wilson and Slam Stewart solo in | Boys Play Good ARTIE SHAW
ithe best of restrained taste and RTIE
| = ] | imagination, then Red takes over | GRAMERCY FIVE
'|for two long choruses, at an .
upped tempo, that thoroughly Hop, Moe wad Jump
illustrates his artistic superiority Vi 20-18
as 2 vibraphonist. In every man- _ Victor 20-1800
ner and form Norvo is superb! bi x Yo" eo
; ; 1] Even Slam, in such an environ- patterns o e Shaw Five, ex-
~~ y EF nn meg = |ment, bows his supple bass beau- pert and sophisticated swing, yo
12-inch Keynote record with | tifully, and contributes powerful | create good mood and tonal col- the one
Teddy Wilson. Slam Stewart,| | tone and beat to the rhythm.) ors as well as listening interest. issue pt
Remo Palmieri. Aaron Sachs and | | | Sachs plays so much like his idol, | Shaw’s clarinet and Barney Kes- azz, th
Eddie Dell the musicians, the is- | :: Benny, at times that it’s unbe- sell’s guitar are featured, with all
sue’s supply of good music is off | | lievable. But the kid also has Dodo Marmaroso on piano. Ex- twenty-
form. The Norvo sides, with Red || ; a mind of his own, as his phras- cellent bass and someone’s muted haven't
playing some brilliant vibes, | ing illustrates. Wilson hasn't trumpet are heard to good ad- est ©
would be standouts in any|| matched his work on either side vantage. These are first two of cain i
month; will undoubtedly rank | for some time. Seven Come Ele- several Shaw originals that Vic- ite na
with the best when the year is ven is the clever Goodman Sextet tor has promised to release at There
over. Amazing is the Goodman- | tune, that the immortal Charlie | intervals. Numbers were written 1011. C)
like clarinet of Aaron Sachs. 1 pepo —— with rong Z by Shaw and John Carleton. om "yas
‘a an excellent jump number, wi :
PS ane Ay g tug Fg, Be Hollywood — Margaret Whit- | Clever unison and solo parts sup- | ERSKINE HAWKINS ad :
pair of ballads, two particularly ing, with her bookings now piled | plied. Red takes the first chorus, | Let’s Have Fun Tonight Woogie
excellent ballads from the Her-| 2s high as the hair on her head, |with Remo (who isn’t heard on | Good Dip House }
man Herd. and a new Goodman.| is one of the busiest musical gals | Man J Love,butexcellently here),/ = New York—Lenny Lewis isthe | J Guess I'll Have To Get Along Most
Tw vonadists about which in the biz. The lovely creature | Aaron on clarinet (with a chorus | boy who fronts that unusual or- Without You are the
+A ~_ A cag re has been signed for the new CBS | Benny couldn’t cut), Teddy with! chestra consisting of nine col- Holiday For Swing jazzmer
muc as n - Continental Celebrity Club, is be- | more piano, and Slam on bass | ored and nine white musicians, . eal ma,
little actually heard debut on; . - - (though he falls into some ob- ; Victor 20-1777 and 1794 ready r
wax—Jack Leonard on Majestic| ™® considered for an important though a | all of whom have previously m : li King of
and Johnny Desmond on Victor role in a forthcoming Broadway | Vious licks). Norvo’s work ped played with big-name outfits. - Two interesting sides, Holiday —
on bee — to their tremendous| ™usical; and of course still some unison passages take it out | The band is currently playing in or rey | rather different than 1010: J
puildue both boys’ attempts are| keeps recording for Capitol. in great spirit. Here’s modern! moat, od i heeded for Savey expected rom the Hawkins crew. “ :
DS, | DOYS a Pp ted swing, on its highest and tastiest cee ea Mie eli | Mie Band isn’t clean, yet there’s pow- ern Ho
not what might be expected. level, spirited and inventive! says, “My boys play good don't |¢" 20d enthusiasm. Swing was discuss
Sinatra, for certain, isn’t losing Swing — ae ys ) written by Sam Lowe, Good Dip Dodds,
sleep. es —_ CHUBBY JACKSON SEXTET As by Bobhy Smith. Other sides ane mats, .-
RVO SE uninteresting. awkins solos of the
ia, ° Bass Face pron —_ — nicely on all sides. an
m . . Don’t Get Too Wild, i otton Tai : 0. e |
PROMPT SERVICE Seven Come Eleven Snap Your Fingers PHIL MOORE FOUR field of
1 ’ Sapaste E86 gianni Capitol 231 I Loves You, P =
Recorded as long ago as July} Not off form, just not as ex- Siabink: ee ae eee Orleans
and HOT RECORDS °44, these sides will stack up as citing or inventive as some of| The Sherwood band, long silent Symphony Stompe
That’s Why the Dependability of |}among the best of small combo the recent small Herd combo] outside of their two sides in the Musicraft 15048 15632;
’ swing of 1946. All of the musi- sides. Neil Hefti’s trumpet and|Capitol “Swing” album, sounds} Phil amply showcases his piano You’ve
DI IBLIN S | cians involved—and with Wilson, | Billy Bauer’s guitar, not heard| good on both sides, the first a|on the haunting Porgy and Bess Stomp
|Stewart, Palmieri, Sachs, Dell) too = mex. are py bc ag leg orm gb ag of El-} —: a4 “locked — = —
}and Norvo, they’re among the) ted. Besides them, an ubby, | lington’s original, the second an|chord style is suitable to the calion
Is Famous From Coast-to-Coast |) test names in contemporary |there’s Ralph Burns on piano:|ordinary ballad’ featuring the|melodic content on this type Turner
| hot music—make for results not; Dave Tough, drums; and_ Joe|leader’s trumpet (nice if not ex-| tune. This is the style piano that Plays
xx VICTOR xx && kkk kk |! only what might normally be ex-| Phillips, tenor. Stuff is well ar-| citing) and vocalizing (also the|has become popular of late, with Botton
m " {| pected, but far beyond. The mood | ranged unison riff and solo combo} same). Cotton Tail soloists, the | this as one of the few good ex- Brunsw:
Oe e OANO THE ANGELS SINC; I! and tone set, the spirit through-! swing. label obligingly states, are: Sher-| amples of wax. Chuck Wayne Piggly
oR 53¢ || wood, trumpet; Hollis Sulser,| solos on guitar, with some Gilles- Tight b;
B. Goodman and Orchestra ag piano; Joe McAnarey, clarinet; | pie-inspired chord progressions. Band, o
0 12”—BLACK BROWN AND I LG M and Herbie Haymer, tenor sax. | Side is nice mood, though the re- _ The
BEIGE. 2—12” Records. .... $1.85 e "Sh, —% & HERE IT | Though not great, this is a good | (Modulate to Page 19) eight si
Duke Ellington | - ORDS . . sot Jere OPENER Ss asia b Dodds:
é x \ choly a
| 7: ~ oN IS AT -
za BLUE NOTExaaxaas ||’ 7 pet oe Vaughn Blends With Nortons —
] BN-42—12”—-MAD ABOUT = i
“ YOU; FACING THE FACE... $1 59 ‘ .. \ Ve : LAST! ponogie
Ike Quebec Swingtet >. . Went be ty lip 103
(1 BN-48—12”—HOW LONG BLUES; , “es aocameell Vas YOUR Strut
BLUES BEFORE 2. ch Fs ao
eee . an ‘ a
Pigmeat Markham and Orchestra 4 > ; \] CHANCE Vocalion
(0 BN-33—12”—AFTER YOU'VE $1 59 ", TO JAM Terrible
GONE; JOY MENTIN’..... . ines by
J. P. Johnson Jazz Men Featuring WITH ort rer
rele meg k NATIONALLY Nearl
(0 BN-17—12”—CELESTIAL EX- $1 59 soloists’
PRESS; PROFOUNDLY BLUE _ FAMOUS SOLS US
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CRAZY ru om Vee 1. — bog nm OTnaividuelly hn ype | blends his baritone with the dulcet harmonies of the Norton sisters.
amet: played by top Hollywood artists. The tunes waxed were You May Not Love Me and Just My Luck from
the show, Nellie Bly. Vaughn and his men are at present pleasing
the customers at the Commodore Hotel.
On RHYTHM RECORDS, piano, guitar, drums and
bass are combined to give you solid background
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have a four-measure introduction which tapers into
a series of choruses that leave plenty of room
for ‘head arrangements’.
RHYTHM RECORDS’ ‘Four Star Rhythm Section’
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Ci K-605—10"—EVIL GAL BLUES; 79
HOMEWARD BOUND.......... c
Dinah Washington
IT'S
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Take advantage of this new method for keeping N
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RHYTHM RECORDS present an entirely new approach and opportunity for the master of them all for home M*
young instrumentalist to become familiar with modern popular music. The idea Al lif. ‘
that the student plays with a group of established musicians of international use. onglife needle that’s Sold by
reputation ts invaluable in holding his interest. ese records are as soundly he?
beneficial to a beginner playing the straight melody to a Gershwin or Irving extra-kind to records. At lead-
Berling song as they are to an experienced professional in his most lavish ing music and record shops. S
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CHicaco 54.ib RHYTHM RECORDS COMPANY (Slightly
PERMO., Incorporated * 6415 RAVENSWOOD AVE. CHICAGO 26. ILI orders
P.O. Box 1944D2 Hollywood 28, Calif.
1946
heard
voven
erest.
' Kes-
with
. Ex-
nuted
d ad-
wo of
t Vic-
se at
ritten
Chicago, February 11, 1946
RECORD NEWS
DOWN BEAT 9
he
aQzzZ
ive
Milt Gabler and Gene Williams
at Decca deserve a big hand for
the most active and extensive re-
jssue project in the history of hot
jazz, their Brunswick Collectors’
Series. While two of the first
twenty-one Brunswick albums
haven’t been announced yet,
most of the available sets con-
tain nothing but the choicest
items.
There’s Ellingtonia 1000 and|
1011, Chicago Jazz 1007 and Har- |
lem Jazz 1009, Red Nichols 1001 |
and Cab Calloway 1004, Tesch
1017 and Pinetop 1002, Boogie}
Woogie Piano 1005 and Barrel
House Piano 1008.
Most important of all, however,
are the five sets by New Orleans
jazzmen. Three of these I’ve al-
ready reviewed: Jelly-Roll Morton,
King of the Piano, 1018; Riverboat
Jazz, New Orleans to Chicago,
1010; Jimmie Noone, Dean of Mod-
ern Hot Clarinetists, 1006. Now Ill
discuss the other two: Johnny
Dodds, King of New Orleans Clari-
nets, 1020; Louis Armstrong, King
of the Trumpet, 1016.
|/ny Dodds’ Black Bottom Stomp-
The Dodds set presents eight
of the rarest sides in the whole
field of hot collecting: Bruns-|
wick 80073, Weary Blues and New |
Orleans Stomp by Black Bottom
Stompers, originally Vocalion
15632; Brunswick 80074. After
You’ve Gone and Come On And
Stomp Stomp Stomp by_ Black
Bottom Stompers, originally Vo-
calion 1148; Brunswick 80075, Joe
Turner Blues and When Rastus
Plays His Old Kazoo by Black
Bottom Stompers, originally
Brunswick 3997; Brunswick 80076, |
Piggly Wiggly and Forty And)
Tight by Beale Street Washboard
Band, originally Vocalion 1403.
The Armstrong album _ offers
eight sides as rare as those by
Dodds: Brunswick 80059, Melan-
choly and Wild Man Blues by
Black Bottom Stompers, originally
Bruswick 3567; Brunswick 80060.
Georgia Bo Bo and Drop that Sack
by Lil’s Hot Shots, originally Voca-
lion 1037; Brunwick 80061, Static
Strut and Stomp Off Let’s Go by
Erskine Tate’s Orchestra, originally |
Vocalion 1027; Brunswick 80062, |
Terrible Blues and Santa Claus
Blues by Red Onion Jazz Babies,
originally Gennett 5607.
Nearly a score of famous jazz
soloists perform on one or more |
PERMA- CANE
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their ability to out-perform any reed made.
The finest of specially cut cane reeds is
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(Slightly higher in Canada. Canadian
orders to Whaley Royce & Co.,
Toronto, Canada)
of these sixteen sides: trumpet-| pretation of Wild Man Blues.
ers Louis Armstrong, George |
Mitchell, Herb Morand, and Ru-
ben Reeves; trombonists Kid Ory
and Gerald Reeves; clarinetists
Johnny Dodds and Buster Bailey;
saxophonist Stomp Evans; pian-
ists Earl Hines, Lil Armstrong,
Teddy Weatherford, Charlie Al-
exander, and Frank Melrose;
banjoists Johnny St. Cyr’ and
Buddy Christian; drummers Ba-
by Dodds and Jimmy Bertrand.
The presence of two under-rated
New Orleans musicians Morand and
Evans, of two equally deserving
Chicago men Melrose and Weather-
ford, is enough in itself to label
both these albums interesting listen-
ing. What really makes them so
great, however, is the playing of
Hines and Dodds and Armstrong.
Typical of these sixteen num-
bers is Wild Man Blues by John-
ers in the Louis Armstrong set,
from a solo viewpoint the best
jazz record ever made! On this
one Johnny and Louis and Earl,
supported by Kid Ory, Johnny
St. Cyr, and Baby Dodds, set a
standard that never has been
met. Armstrong’s trumpet and
Dodds’ clarinet successively car-
ry the burden throughout, two
beautiful long solos unmatched
before or since for true blues
quality and inspired improvisa-
tion. Recorded in 1927, this re-
mains still today the finest inter-
RECORDS
BY MAIL FROM
EMERALD
( Did You Ever Love a Woman; I'm
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Jivin’ Joe jackson;
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House Party Boogie; Baby Make Up
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Prices above plus transportation charges
Emerald Record Shoppe
1581 MILWAUKEE AVE.
CHICAGO (22), ILL.
Queer Street—
ooo
0
Symphony—
Go Baga
m
ue
fom
aBoadad a
Dodds also made versions for
both its composers in 1927, with
Louis Armstrong’s Hot Seven on
Okeh 8474, with Jelly-Roll Mor-
ton’s Red Hot Peppers on Bluebird
10256, but Johnny’s own is easily
the best of the three. He recorded
it again in 1938, Decca 2111, but
Shavers’ trumpet was no equal to
George Mitchell’s with Morton to
say nothing of Armstrong. In 1940
Sidney Bechet, using Sidney De-
Paris on trumpet, made Wild Man
Blues for Victor 26640. It’s a great
recording too, but still no match for
the one now reissued by Brunswick!
Bluin’ The Blues
Composed by pianist Harry
Ragas of the Original Dixieland
Jazz Band, who died twenty-sev- |
en years ago at the peak of his}
fame, this number is a perfect |
ideal tune for a study of the
famous New Orleans tailgate
style. The two pioneers of Dixie-
land slide-horn have both re-
corded Bluin’ twice, Edwards’
versions coming almost twenty
years apart and those by Brunis
nearly six. Eddie cut his first
with the O. D. J. B. on Victor
18483 and his second with the
reassembled Original Dixieland
Five on Victor 25525, while Georg
waxed it with the revamped New
Orleans Rhythm Kings on Dec-
ca 464 and then with Muggsy
Spanier on Bluebird 10719. All
vehicle for hot trombone and an | four are great hot discs! ite
PEEWEE RUSSELL’s
RHYTHMAKERS
1000 O
S Dinah
Baby Won't You
Please Come
Home
FEATURING:
HRS 1007
© Chi Con Carney
Mountain Air
Joe Thomas *
HRS 100]
There’ll Be Some
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Zutty’s Hootie
HRS 1005
2 Same Old Sheaves
A Slight
> of the Shakes
over the HRS labels listed below — every
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lues
BRICK FLEAGLE’S
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HRS 1006
Double
house
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Case
Brick Fleagle’s 16-piece all-star
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SANDY. WILLIAMS’
BIG EIGHT
FEATURING: Sandy Williams,
HRS 1008
After Hours on
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Sumpin’ Jumpin’
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Harry Carney
“Cue Porter” * Jimmy Jones ©
p Brick Fleagle * Sid Weiss
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Available now in pre-war
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TeyIo, Bij}, "90 Q
10 DOWN BEAT
EDITORIAL
Chicago, February 11, 1946
eCWwWROS BEAT
GLENN BURRS, Publisher NED E. WILLIAMS, Managing Ed.
203 NORTH WABASH, CHICAGO (1), ILL. —ANDOV ER 1612
BUSINESS DEPARTMENT
ED PARO, Advertising Manager ROBERTA V. PETERS,
FRANK W. MILES, Circulation Manager
EDITORIAL DEPARTMENT
Chicago Staff: MIKE LEVIN®, DON C. HAYNES, JOHN DORAN, JOHN LUCAS,
SHARON PEASE. GEORGE HOEFER
(*in Service)
New York Staff: ROD REED, JESS BENTON, EVELYN EHRLICH, DOROTHY
BROWN—2415 RKO Bidg., Rockefeller Center, New York, 20, N. Y.—Circle 7- 4131.
Les Angeles Staff: CHARLIE EMGE, DIAN MANNERS—648 North Rampart Bivd.,
Los Angeles, 26, California
Auditor
Subscription Rates: $4 per year in advance. Same price <{ all parts of the world. Special
Military Rate, $3 per yea
MEMBER OF AUDIT a BUREAU OF CIRCULATIONS
| Teddy & Sax |
Chicago—In answer to fans
who wanted to see what the new
mid-west sax sensation looked
like, the Beat presents none
Some Still Believe
In Future Of Jazz
By MALCOLM E. HOLT, RDM2/c, USNR
Intermittently, during my two years of sea duty, I sat back |
in my compartment aboard ship and tried to abeorb the |
opinions of critics of Down Beat and other trade publications |
in order that I might have a clear cut, concise picture of the |
jazz world when I returned to the states. For two years |
sought relaxation from the strain of battle and sleepless nights
in the only expressive outlet I understood—jazz. My clarinet |
aided me immensely. The records I brought along punctuated
the peace I sought and filled my dull moments with happiness.
Hodges’ Day Dreams, Berigan’s Can’t Get Started and
Muggsy’s Relaxin’ At The Touro gave me new confidence and
helped pull me through. But all the while I kept reading that
“Jazz is dead,” “It doesn’t have the vitality and spontaneity
it should have.” “Radio and records and movies have ab-
orted an American art form.”
And I began to wonder, What had happened that the art
I thought was progressing at the time of my induction would
suddenly have its progress retarded?
Now that I am back in the States and have travelled from
coast to coast four times in the past six months I cease to
mourn jazz and begin to feel sorry for those poor unfortunates
who evidently are not capable of appreciating an era that is
so productive that it is running ahead of itself.
I reached my home town of Baltimore to find that the Lyric,
bastion of classical sessions, had bowed to the extent that a
jazz concert was being featured there by Les Brown. This,
at the time. did not seem to me to be indicative of a down beat
for a funeral dirge for jazz. I caught the great Jack Tea-
garden on a date at Keith’s Roof.
Tea was fronting a mediocre band yet his horn was worth
the price of admission and a capacity crowd seemed to under-
stand it. I thrilled at his rendition of Stardust and the subtle
phrasing he used for the little played but lovely verse. And
I noticed that when Mr. T. started to take off the dancing
stopped and the listening began. Was this a sign that jazz
is dead?
When I returned to my ship in Los Angeles I thorght that
I would investigate the local situation and see what was hap-
pening on the west coast that might give someone the impres-
sion that Tesch, Bix, Tram and Lang were just another fad
that had completely been forgotten.
At the canteen, on Main street, I found a combination
boasting an alto, trumpet, guitar, piano and drums. But the
trumpet of Johnny Vincent wasn’t commercial. For ten solid
minutes he played Body And Soul and he played his heart
out. And I was so impressed that I came back for more the
next night. The feature of the evening was a fifteen minute
rendition of the Duke’s plaintive I Got It Bad And That Ain’t
Good. It carried a vocal too. by the drummer. There weren’t
any words used, and they would have been entirely super-
fluous, for the drummer was Leo “Scat” Watson. That night
he was high and he was right. Hearing it was important but
I felt it too and that made it right and good and important.
And once again I began to think that the critics were wrong.
This was living music, music with a purpose.
At the Palladium I found the new Gene Krupa group. I
soon became quite aware of the presence of Charlie Ventura
and I seon reached the decision that, in spite of his obvious
commercialism at times, this was no ordinary tenor man. This
guy was also right. In fact he was great, in the strictest sense
of the word. I’ve never expected much in the way of jazz
from the big bands. Krupa gave me a pleasant surprise. His
ballads were arranged beyond the fourth grade stuff used by
the Barron’s and Kaye’s and you had a feeling that there
was even a purpose of some sort in them. It was a nice feel-
ing. The trio provided kicks galore. Teddy Napoleon’s Stacy-
other than Teddy Phillips! Band
is due for an eastern buildup
soon.
| Here Tis & Hot |
Shikoku, Japan — Lawrence
“88” Keyes, Gotham boogie ar-
tist, gave it to the boys of the
24th Infantry, but hot. Lawrence
was featured on the USO show
Lucky Seven which has just com-
pleted a six month tour of the
South Pacific.
=a y AND
DISCORDS
Panassie Correction
Paris, France.
To the Editors:
Received your copy of Dec. 15}
Down Beat, in which my article |
on Hugues ’Panassie appeared.
In general, the condensed ver-
sion printed retained the main)
points of my story in good rela-|
}
|
|
tion to their importance to Amer- |
ican readers. But the paragraph
regarding Panassie’s hinted)
“semi-collaboration” gives, I be- |
lieve, a wrong slant. I give Down
Beat full credit for its wording
“...In fact, there has been some
discussion as to whether or not
he was guilty of at least semi-
collaboration with the Germans.”
Which does leave plenty of room
for doubt.
However, collaboration with
the Germans is one of the most
like piano that night was in perfect
taste and Krupa was playing rhy-
thm. You didn’t hear him as much
as you usually did. You had a ten-
dency to feel him. And that’s the
way it should be.
At the Morroco on Vine street I
heard Bix, Bobby Hackett and a bit
of Berigan all rolled into the horn
of a guy named Red Nichols. And
being particularly partial to the
reeds I noticed some fine improvi-
sation, a great rhythmic attack and
melodic ideas that fitted my scheme
of things coming from the em-
bouchure of Heinie Beau. And
again I thought: the stuff is alive.
The critics were and are nuts.
Big Band Jazz
Exploring big band jazz again I
tasted the music of Stan Kenton at
(Modulate to Page 16)
|
| es
“What d’ya mean it ain’t front page stuff? I tell
ya I found a congressman who favors Petrillo!
serious ~ charges that can be
leveled against a person in
France, and I do not believe it
is the province of Americans to
suggest it when the French, who
were, after all, here at that time,
have made no moves in that di-
rection. And there has been no
suggestion coming from France
that Panassie is suspected by his
countrymen of any such activi-
ties. Further, he was active in
the resistance movement.
It should be pointed out that
his radio broadcasts were made
from southern France, before the
German army occupied Vichy,
and when the Germans marched
into “unoccupied France,” his
broadcasts abruptly ceased.
If my version of the story
seemed to suggest to your re-
write man that such was the
case, I wish to apologize to
Panassie and to your staff, as my
object in all this is only to be fair
to all concerned, especially
Panassie.
Gordon T. Darrah.
* 7 *
A Voice Cries Out
Kearney, Nebr.
To the Editors:
When are some of these up
and coming bands going to start
giving credit to Raymond Scott |
for what they are copying? Or
maybe I have the wrong con-
| ception. of hep music? A lot of
credit is due Scott for starting |
this new fine style of music six
or seven years ago. Why are new
bands getting all the credit for
something Scott tried to put over
to the public then?
Congratulations on the strict-
ly fine editorial of January 1
issue. Keep up the good work.
Cpl. Harold “Red” Rowe
* * *
Classics Flavor Jazz
Spring Hill, Ala.
To the Editors:
I have just read a recent issue
of Down Beat which contains a
letter from Mr. Richard G. Har-
rison, of Memphis, in which he
says that jazz is doomed if the
blending of the classics and jazz
continues. Mr. Harrison does not
make himself clear. If he is re-
ferring to such practices as put-
ting words to the music of
Chopin and other classical com-
posers, I agree with him that it
does music in general no good.
But such tricks of popular song
a have nothing to do with
azz.
If Mr. Harrison is referring to
the modern arrangers like Eddie
Sauter, Duke Ellington and Billy
Strayhorn who often use classi-
cal themes in their works, then I
think Mr. Harrison has _ the
wrong idea entirely. It is true
9
“\mE
neues ON
we
MA
NEW NUMBERS
EBERLY—A daughter to Mr. and Mrs.
Bob we recentiy, in New York. Father
is singe
SHEAFFER— A daughter to Mr. and Mrs.
Sam Sheaffer, Jan. 12, in Pittsburgh. Fa-
ther owe trumpet with Al Marsico.
RAYE—A son to Mr. and Mrs. Don Raye,
Jan. 13, in Los Angeles. Father is a sony-
writer.
LOCHER—A son to Mr. and Mrs. Kline
Locher, Dec. 29 in Cincinnati. Father is
ex-lead trumpet man with Teddy Powell
and Raeburn bands, mother is Barbara Mof-
fett, ex-Gray Gordon and Raeburn singer.
TIED NOTES
SMITH-WIETING—Freddie Smith, alto
saxist with Cee Davidson at Rio Cabana,
Chicago, to June Wieting, Jan. 27, in New
York.
JOYCE-MILLER—Szt. Bob Joyce, for-
mer Clyde Lucas and Bob Strong saxist, to
| ney beg I sea dancer, Jan. 11 at Ft.
CLARIDGE-WEBBER—Gay Claridge,
band leader at Chicago's Chez Paree, to
i Webber of Kansas City, Jan.
Chicago.
15 in
FINAL BAR
| VON TILZER —Harry Von Tilzer, 73,
songwriter and music publisher, Jan. 10, in
New York.
| POLLACK—Lew Pollack,
Jan. 18, in Hollywood, Cal.
GREY—Bill Grey, 33, arranger, last with
Jerry Wald, Jan. 26.
that Sauter has used themes that
reflect his admiration of the
work of DeBussy, and Ellington’s
arrangements sometimes taste of
Ravel, but they certainly do not
boldly use the direct music.
These arrangers use the classics
only to “flavor” their work as a
good chef uses seasoning.
These practices by the very
best arrangers in American jazz
do not tend to destroy jazz, but
to broaden it, to increase the
mood and feeling. These men
are not leading jazz astray, but
are leading the way to newer and
broader fields.
If, as Mr. Harrison suggests,
jazz is left to such ancients as
Kid Ory and the like, jazz will
indeed die a premature death.
No art can live in the past; there
must always be improvement.
The jazz giants of yesteryear
that Mr. Harrison mentioned
were great in their time, but
they are playing primitive music
in a modern era. They are play-
ing according to the limited ideas
of the 1920s. If painters refused
to improve on the first drawings
of the cavemen, imagine where
modern art would be. The same
idea a poles in music. These men
should wake up. This is 1946.
Jack Heaney
50, composer,
Chica
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HOT BOX NEWS
Chicago, February 11, 1946
A COLUMN FOR RECORD ===" |
COL
In case any of you plate hook-
ers come across a Gennett record
by Jack Davis and His Ken-
tuckians the personnel is as fol-
lows: Pete Daily—trumpet, Max
Miller—guitar and bells, Ted
Hatfield—piano, Fred Christy—
drums, Doran Davidson—tenor
sax, Howard Casey—trumpet
and Jack Davis—leader and alto
saxophone. This band played the
Iris ballroom in Benton Harbor
Michigan back in 1930. The lead-
er Davis recently told the Hot
Box that they made six sides for
Gennett in Richmond, Indiana
during 1930. Only two tunes were
recalled, Sick-O-Licks and Bal-
cony in Spain.
The trumpet player on the abov:
date, Pete Daily, has recently r«
corded a Windy City Jazz Reunio
session on the west coast. The side
—Sugarfoot Strut, Red Light Rag
Skeleton Jangle and Roundhous
Rag will be released in February on
the Sunset label. The personnel in-
cludes names well known around
the Lake Michigan wind tunnel.
There was Bud Wilson (trombone).
Sleepy Kaplan (drums), Joe Rush-
ton (bass sax), Rosey McHargue
(clarinet) and Country Washburn«
(tuba).
MISCELLANY: The outstand-
ing jazz band around the i
Louis area according to Dr. B. D
Simms is the Chuck Finney out-
fit. Finney is leader of a fly
Negro band and himself a com-
poser of note. He can play danc’
music for one hour using his own
compositions exclusively. The
unit recently made some tests for |
Decca using their own original |
arrangements of Finney’s com- |
positions Chick’s Boogie, I Want |
A Man Like That, Look Here
Baby What You’ve Done To Me
and Need You More and More.
Recent waxings: By John Schenck
—Nobody’s Sweetheart, Indiana,
Sister Kate and Someday Sweet-
heart by a trio consisting of Bud
Jacobson—clarinet and tenor sax,
STUDY ARRANGING
with
OTTO CESANA
EVERY Musician Should Be
Able to Arrange
CORRESPONDENCE
AT STUDIO
They studied with Otto Cesana:
(Arr. For)
Van Alexander........ Van Alexande:
Leonard Love.......+..:+ Dean Hudson
Herb Quigley....... Andre Kostelanetz
DE CT. 5 cs00sseeneaaet Alvino Rey
Turk Van Lake....... Charlie Barnet
Buddy Weed.......... Paul Whiteman
and many others.
NOW AVAILABLE! ——>
Course in Modern Harmony
(Complete material)....... $3.00
Course in Modern Dance Ar-
ranging (Complete material) . $2.00
Course in Modern Counter-
point (Complete material). ..$3.00
Reminiscing (Score—with
concert sketch)..........+.. $1.00
American Symphony No.
(Beore) cccccccccccccccces $4.00
29 W. 75th St.,
OTTO CESANA New York 19, N.Y.
Tel.: Plaza 5-1250
Appeals to amateur
and professional alike
because it gives en-
tirely new range of
guitar effects... reg-
ular guitar tone and
rhythm plus electric
power. Easily attached
to any type guitar in
a few minutes. See
your dealer. Write for
circular DB-4,
ELECTRONICS DIVISION
N
) ‘/
UDI: Gi uslries
3120 MONROE ST,, TOLEDO 6, OHIO
Mel Grant—piano and Jack Goss—
guitar.
By John Steiner — Confessin’,
Exactly Like You and I Talk About
the Weather by Bert Patrick Quar-
tet including Bert Patrick, alto;
Jack Goss, guitar; Red Norvo, pi-
ano; Josh Billings, suit case, and
Jim Hall, drums.
WOJG Bob Sales writes from |
Germany that six sides cut in
Paris by Ray McKinley, Mel Pow-
ell, Bernie Privin, Trigger Alpert,
Peanuts Hucko, and Django
Reinhardt have been issued.
dn interesting record is the
Graveyard Johnson and Gang Su-
pertone 9431 Maxwell Street Stomp
(Miller) and Original Stomp
(Smith).
Jack Palmer, composer of
Everybody Loves My Baby, said
that the well known Bee Palmer
recorded his tune on Columbia.
Oldtimers say that the great
New Orleans trombonist Roy
Palmer used to use a cuspidor
for a mute.
Gene Tate of Indianapolis has an
Raeburn To Add
Sepia Side Men
Los Angeles— Boyd Raeburn,
playing one-niters in this terri-
tory pending settlement of con-
tractual di
| Morris Agency, is building a new
band which, he says, will contain
|at least two Negro musicians.
Lucky Thompson, tenor man
formerly with Count Basie and
}recently with Dizzy Gillespie at
Billy Berg’s, planned to join Rae-
burn in early part of February.
interesting Gennett by the Richard
Hitter Band. Tunes are Hot Aire
and Stomp Off, Let’s Go. Record
number is Gennett 3149,
Bob Thiele of Signature rec-
ords has on Argentine Odeon the
Joe Marsala and Orchestra re-
cording for Decca of Walkin’ The
| Dog and poe Daddy. It is a rare
item and included the playing of
Max Kaminsky—trp., Joe Marsa-
la—clarinet and alto, George
Brunis—trb., Dick Cary—piano,
Zuttie Singleton—drums. Eddie
| Condon—guitar and an unknown
bass.
COLLECTOR’S CATALOGUE:
Ron Weldon, 14987038, 3 Platoon,
| Queen’s Regt.-34 Reinforcement
ing since 1939. Jelly-Roll, Arm-
strong, New Orleans Music.
| Ron Boyle, 37, Hope Street,
| Wakefield, Yorkshire, England.
| Will swap rare cut-out British
label jazz for modern American
small-label jam groups. Special-
| izes in everything but big bands.
Percy Shaw, Suite 4, 402 Logan
Ave., Winnipeg, Manitoba, Can-
}ada. Has a curious pair of spec-
| ialties—Billie Holiday and Curt
| Massey.
Raymond Knight, 8, Broughton
| Ave., Doncaster, Yorkshire, Eng-
| land. Wants to obtain Miller’s Year-
| book of Swing and American jazz
| material by trading records.
Ave., Belmont, Mass. Collects
Fred Lowery whistling records.
DOWN BEAT
| Dorothy Vincent, 18 Jeanette |
11
Al Donahue Back
To Sweet Music
New York—Al Donahue’s or-
erences with Wm./| Camp, SE Asia Command. Collect-| chestra, out of this area contin-
| uously since it left Frank Dailey’s
Terrace Room in the fall of ’43
(crew played theaters, locations,
}one nighters, etc., for two years
|straight on the west coast)
changed the style of his band
prior to scheduled opening at
Horace Heidt’s Trianon (Feb.
} 12).
| Band, now styled along lines of
}crew Donahue had at Rainbow
| Room here several years ago, has
|5 saxes, 4 brass, 4 violins, 3
{rhythm and a girl singer. Dona-
hue believes trend is toward
sweet music, and with MCA
agreeing, figures he can have a
| well arranged musical band with
a definite dance beat and still
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i2
DOWN BEAT
NEWS—FEATURES
Chicago, February 11, 1946”
Hodes Crew Replaces
Bunk’s Busted-Up Ork
New York—Art Hodes has brought a mixed band into
the Stuyvesant Casino, replacing the Bunk Johnson band
which broke up because of dissension and left Jan. 12. Open-
ing night saw a fair crowd sprinkled with jazz critics and
long-time Hodes’ fans and musi-
cians.
Cause of the Johnson band
breakup seemed to center around
the personality of the leader, with
whom most of the younger musi-
cians (Johnson is 67, the others in
their 40°s) couldn't continue in
harmony. After much verbal disen-
sion, members decided to drift back
to their original haunts and pre-
Casino occupations. One of the boys
hoped to get his old chair back in
his barber shop in New Orleans,
while others irtimated that their in-
terest in their music might not have
been as keen as most of their fol-
lowers.
Gene Williams and Bill Russell,
who booked the spot as a show-
case for the Johnson band, and
who did an exceptional job, are
leans musicians of Bunk’s own
age, idea being to create as au-
thentic an atmosphere of original
|New Orleans jazz as is possible
today.
The Hodes band consists of
Kaiser Marshall, drums; Pops
Foster, bass; Albert Nicholas,
clarinet; Harry Goodwin, trum-
pet; George Lugg, trombone; and
| Hodes pianist. Hodes and Lugg
}are the only ofays in the outfit.
|Guest star for opening night, Big
| Bill Broonzy, failed to show and
Cow Cow Davenport subbed.
Orrin Tucker Joins
‘Musicraft Roster
| New York—Orrin Tucker, who
| opened at the Strand theater on
not associated with the Hodes | Jan. 25, has joined the growing
venture. They might back Bunk’s|roster of Musicraft recording
trumpet with several New Or-
| artists.
| On Her Way
New York—Lush and languor-
ous, in fact all the descriptive
adjectives available, still would-
n’t quite fill the bill of describ-
ing Winnie Christie. She’s on her
way to big things,we’re told. Joe
Glaser, a keen judge of talent,
has her under his wing, and is
readying her for a buildup. The
winsome Winnie might well be-
come another Lena Horne —
whom she does not look unlike,
incidentally.
Duke Draws
Huge Crowd
ToChiConcert
(Jumped from Page One)
of Down Beat, the first being the
previous Ellington Civic Opera
House concert last March 25.
Despite several local appearances
since the March concert, two
performances this time were still
not sufficient to accommodate
the legend of Ellington fans.
New Stars Steal Show
Comparative newcomers stole
the show from the older Elling-
ton stars. It was clarinetist Jim-
my Hamilton, trumpeters Wil-
liam “Cat” Anderson and Taft
Jordan and bassists Al Lucas and
Oscar Pettiford who were the
instrumental stimulants, while
Vocalist Al Hibbler received a
tremendous audience reception.
The band as a group, displaying
a brilliant trumpet section and
unusual power and cleanliness,
was exciting, and part of Duke’s
composition — the Blue _ suite,
parts of his new Tonal Group,
particularly the Fugue—were ex-
ceptional, the concert still fell
instruments,
amateur musicians
alike.
treasured by professional and
Once
again
Co-Stars
New York—Satchmo’ and the
Duke, after all this time, finally
got together! Occasion was an
all-star recording bash held at
the Victor studios here. Don
Byas, Jimmy Hamilton, Johnny
Hodges, Chubby Jackson, Red
Norvo, Remo Palmieri, Charlie
Shavers and Billy ,Strayhorn also
took part in the proceedings,
which will be released for the
public on two twelve-inch Victor
records.
a trifle Short of being the usual
consistently brilliant Ellington.
Something Missing
To some, as to this listener, it
seemed almost as though Elling-
ton had gone a shade stale, that
the star instrumentalists were
too obvious of their greatness,
and a bit tired of it all—thereby
failing to create the usual
warmth and beauty of Ellington’s
music of previous concerts. But
there was no denying that this
Ellington band was one of the
cleanest and most precise musical
organizations ever assembled un-
der the Ellington direction.
High point musically was Jim-
my Hamilton’s clarinet work on
Air Conditioned Jungle. This
young musician’s tremendous ad-
vancement since coming under
the Ellington influence places
him alongside if not beyond other
stars of the band. Probably no
other except Benny Goodman
plays as interesting or thrilling
a clarinet as does this Hamilton.
Revives Mood Tunes
Ellington’s revival of two of
his old recordings, originally
written during the 30’s, Diminu-
endo in Blue and Crescendo in
Blue, combined with one of the
latest tonal compositions, Trans-
blucency, provided special musi-
cal kicks, particularly in the
beautiful mood part for two
trombones, clarinet and the vocal
obligato done so expertly by Kay
Davis. Diminuendo ably show-
cased the brilliant trumpet sec-
tion, and in Crescendo the band
probably reached its musical
peak.
Alongside Hamilton, another
recent Ellington acquisition,
trumpeter “Cat” Anderson, stood
out with his tremendously power-
ful work on Coloratura and In a
Mellow Tone, as on the exciting
and newly orchestrated finale,
Blue Skies. Both Anderson’s
power and range were almost un-
believable, with neither quality
overplayed to the discredit of
musical taste.
Hodges Disappoints
Disappointing was Johnny
Hodges on Magenta Haze; both
(Modulate to Page 13)
Broadway
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Chic
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—
Chicago, February 11, 1946
Duke Draws
Huge Crowd
ToChiConcert
(Jumped from Page 12)
Hodges’ expertly but coldly exe-
cuted solo as well as the Duke’s
inferior score, inferior certainly
to previous Hodges’ numbers.
Johnny also seemed bored by the
proceedings, usually managed not
to play with the sax section,
which of necessity needed his
fifth sax voice, by fouling with
his reed and other devious meth-
ods.
Lawrence Brown kept his ex-
pressive trombone in a pretty
mood—but again Ellington’s new
composition, Circe, for his in-
strumentalist was not up to par,
nor seemed to be the trombonist’s
playing. Needed, it seemed, was
some virile, gut-bucket tram, as
either Brown or the missing
“Tricky Sam” Nanton could have
supplied.
Carney’s Work
Harry Carney, though always
obvious and hard working with
the section, needed a bit more
inspiration for his solo on Sono.
Concerning Carney, it can well
be stated that off-form or indif-
ferent Carney remains excep-
tional baritone.
Taft Jordan’s trumpet, which
at times displayed influences of
Gillespie, at times Rex Stewart,
mostly Taft Jordan, was high-
lighted on an excellent and
stimulating Rugged Romeo, Joya
Sherrill and tenor Al Sears on
The Blues. Latter number was
one of the excerpts from Black,
Brown and Beige which, done
only in part, appeared more in-
teresting and form-like. Petti-
ford’s bass was featured on Bass-
ist and Me, with the too-rare
Ellington piano. Al Lucas, the
other bassist, accompanied Jim-
my Hamilton on Jungle, and ac-
complished somewhat of a feat
by playing such excellent bass
that even Hamilton’s brilliance
could not submerge his work. Al
Sears’ number was the robust
and uninhibited Suburbanite,
which illustrated Duke’s weird
sense of humor in part with a
completely out-of-place title.
Restrained Audience
Throughout the proceedings
the audience (both afternoon and
evening) maintained a respect-
ful, attentive silence and seldom
missed the bits of clever Elling-
ton humor. But reception to in-
dividual numbers seemed re-
Strained, and in neither concert
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was there need of an encore. The
pane Down Beat concert had
ept Ellington on stage for over
fifteen minutes with no less than
three encore numbers.
Only real enthusiasm was that
sparked by Al Hibbler’s effective
vocals, particularly on his J Ain’t|
Got Nothin’ But the Blues. He
came back three times, and only
lack of time finished his bit then.
Ellington’s sense of humor and |
ad lib technique, which usually is
a kick to all concerned, was way
off form at both concerts, and his
vocal stumbling was consistent
enough to embarrass and make
ill at ease at least a portion of
each audience.
Duke’s Piano Missed
Missed even more than in pre-
vious concerts was the long
awaited and seldom fulfilled
Ellington piano, as well as at
least a few of the innumerable
and famous Ellington melodies.
Most spontaneous applause came
during the lull before the ABC
net broadcast of the evening con-
cert, when the Duke broke into
NEWS—FEATURES
Cheap Skate!
New York—Fellow going
around town posing as singer
Buddy Moreno, (while Moreno
enjoys the Florida sunshine)
cashing phony checks, took one
trusting soul for $15. Guy is
not only an impostor but a
cheap skate!
Sophisticated Lady. The radio
announcer broke it up after too
short a time, but not before it
was obvious that the audience
was hoping, despite program
notes to the contrary, that a few
familiar Ellington tunes would
be included. They would have
been a relief from the compara-
tively uninteresting new numbers
he had scored for his instrumen-
talists.
As a Composer and Leader
Ellington later stated that, as
a composer and leader, his musi-
cal selections and his concerts
DOWN BEAT
13
had to show progress; that he
would sacrifice audience reaction
for the sake of continually pre-
senting original and new compo-
sitions. This is a welcome reac-
tion from practically all other
band leaders, who specialize in
endlessly presenting the same
Stagnant favorites, long after
they’re milked dry, but it is open
to controversy whether a com-
poser of Ellington’s popularity
should so completely ignore his
audience. Attendance at recent
concerts should prove, however,
that he can get away with it,
and for sometime to come. Prob-
ably only he could accomplish
this, for only from Ellington
among contemporary composer-
band leaders could an audience
continually expect such high
standard new material, even
considering his present concert
output as below average. It’s
still Ellington!
Previous Ellington concerts
have been noteworthy for their
smooth mechanics of lighting
and production. This was an ex-
‘Jazzways' Gives
Unbiased News
Chicago—Newest jazz yearbook
to hit the stands is Jazzways, a
| 120-page well illustrated maga-
zine edited by George S. Rosen-
thal, with contributing articles
by Frederic Ramsey jr., Rudi
Blesh, Dale Curran, Art Hodes,
Eugene Williams and Frank
| Stacy. Photographs, including a
| special section on New Orleans,
were taken by Skippy Adelman.
Book, published in Cincinnati,
and selling for one dollar, reports
a particularly unbiased picture
of jazz and swing music, past
| and present.
ception, for instead of the usually
good effects it was quite the op-
posite. This, with the leader’s
oor introductions, plus long de-
llays in the starting and inter-
missions of the -concerts, de-
tracted somewhat from the gen-
eral effect.
14 DOWN BEAT
FEATURE
Dizzy Gillespie's Style,
Its Meaning Analyzed
Chicago—“Do you dig Dizzy?” is fast becoming the musi-
cian’s counterpart to “Do you speak English?” Never before
in the history of Jazz has so dynamic a person as Dizzy Gil-
lespie gained the spotlight of acclaim and idolization. Wher-
ever you go in Jazz circles you are
reminded of Dizzy in at least one
of several ways, for few musicians
have escaped the aura of Dizzy’s
influence.
This past year, the last in a dec-
ade that saw him rise from the
humblest of the
unknown to the
heights of huzza
at which he
stands today,
Dizzy inaugu-
rated his city-to-
® city concert tour.
» His opening on
52nd street last
| summer, with
4 Charlie Parker
"| (alto), and Al
. , — Haig (piano),
was the clincher that really opened
the eyes of the hip elite—at least
of those who had not as yet recog-
r, ss
nized Dizzy and Charlie at their
true value.
The most striking example of
the impression made by Dizzy’s
energetic trumpet and manu-
script work is found in the newly
crowned Woody Herman band.
Both the written and the impro-
vised portions of the Herd’s book
are deeply touched with Dizzy in-
fluence—examples of which are
the unison-brass half-tone as-
cension in Apple Honey, and the
unison-brass figure immediately
preceding the TD-like, chaotic
finale of Caledonia. Another
example, not so easily heard but
even more characteristic, is the
pressing of Down Under on Dec-
ca.
Hawk, Others Pick Up
Coleman Hawkins heads the
list of small-band, individual
musicians who have picked up on
Dizz. He not only plays Gillespie
tunes the way Gillespie plays
them, but while at the Spotlight
club on 52nd street he use
Groovin High, one of Dizzy’s
more popular sides on Guild, as
his theme. This list also includes
Don Byas, Charlie Shavers, Errol
Garner, Trummie Young, Joe
Guy, Ben Webster, Howard Mc-
Ghee, Dexter Gordon, Remo Pal-
mieri, and others. Add to these
the vast majority of sidemen in
the hipper bands around the
country and you have quite an
impressive assembly of Dizzy
Devotees.
Even Duke, who to date has
kept his book completely devoid
of Gillespie influence, is shelter-
ing several potential Dizzyites
among his select personnel. Taft
Jordan, Jimmy Hamilton, and
William Anderson have at times
strewn Dizzy phrases to the
winds, particularly when backing
up the very fine vocals of Al
Hibbler.
Copy Too Many Ways
But the fad of copying Dizzy
unfortunately has not 4
with his music; followers have
been trying to make themselves
look and act like Dizzy to boot!
Musicians wear goatee beards be-
cause Dizzy wears a goatee beard;
musicians wear the ridiculous lit-
tle hats that have been seen
around lately because Dizzy
wears one; musicians have start-
ed to laugh in a loud, broken way
d|because that’s the way Dizzy
laughs; musicians now stand
with a figure “S” posture, copying
Dizzy who appears too apathetic
to stand erect—and so on down
the list. Surely this copycatism
accomplishes nothing for the
Dizzy fan, but, just as surely, it
does Dizzy much harm.
It seems logical that Dizzy
should epitomize the flauntingly
unconventional, over-hip musi-
cian, for his many mirror-imag-
ing followers are just that.
People who don’t know Dizz have
assumed that his personality
goes no deeper than these fads
he has unwittingly started. But,
on the contrary, Dizz is one of
the most completely sincere per-
sons—a refreshing individual to
meet.
The ‘Why’ and ‘How’
You ask—What brought on this
new influence and in what man-
ner did it begin?
As for the why, if it hadn’t
been Dizzy Gillespie it might
have been O. U. Lovah or Joe Q.
Jamman. The revolution caused
by Dizzy’s advanced conception
was inevitable if Jazz were to
keep progressing, for with the
waxing of Hawk’s Body And Soul
and others in its class Jazz
reached a pinnacle of develop-
ment. The human imagination
has its limitations, just as the
human arm or leg, and Jazz had
reached the point where the mu-
Sician’s imagination could no
longer function effectively with-
out the added stimulus of new
horizons for exploitation. There
were two alternatives: either
Jazz could remain stagnant and
in time lose its identity as a
highly creative art, or it could
develop new facets for the imag-
ination, new stimuli to artistic
fabrication. Fortunately it fol-
lowed the latter course—chose it
and assigned the task to Dizzy
Gillespie.
Charlie, Others Help
As for the how, the develop-
ment of Dizzy’s style was not the
result of a sudden flash of genius,
a romping away in the newly
made cart of abstractions; it was
the culmination and accumula-
tion of the hard earned ideas of
many artists of whom Dizzy is
the most impressive. Among
these fellow-revolutionists may
be mentioned Thelonius Monk,
Lester Young, Buck Clayton, and
Dizzy’s close partner, Charlie
Parker; also many others who
frequented Minton’s during the
first days of the Be-Bop style.
If you haven’t yet heard Dizzy
play you must wonder just what
this excitement is all about. Too
much has been said about Dizzy
Gillespie as the proponent of a
new form of music—a new Jazz.
This is a falacious contention, as
the tempering influence of time
will undoubtedly show. Jazz is
differentiated from other forms
of music more from a standpoint
of imaginative conception and
emotional import than from that
of musical form. The emotion
displayed by Dizzy is not differ-
ent from that displayed by other
greats before him, except in in-
tensity, and although the form
of Dizzy’s music differs from that
which preceded it, it is, never-
theless, based entirely on Jazz
as we have known it until now;
it is merely a further develop-
ment.
Dizzy’s Style
One conception prevalent
among lay and hip circles alike
is that Dizzy’s music is based on
whole-tone scales and augment-
ed chords. That is most certainly
a misconception, for although
Dizz employs whole-tone scales,
assorted whole-tone intervals,
whole-tone progressions, and
augmented chords more often
than do most musicians, these
modernisms comprise but a small
part of his style. Infinitely more
important is his genius for sub-
stituting and extending chords in
unorthodox but singularly thrill-
ing ways and places. Often these
substitute chords are minor sev-
enths with associated minor
ninths; occasionally they are of
the diminished, augmented, and
augmented eleventh groups.
There is no definite pattern to
Dizzy’s use of these chords. The
effects he derives are for the
most part due to the unexpected
and formerly untried combina-
tions of chords, not polyphonicly
(Modulate to Page 15)
Chicago, February 11, 1946 *
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Chicago, February 11, 1946
NEWS—FEATURES
DOWN BEAT l.
Dizzy Style &
Meaning Analyzed|*
(Jumped from Page 14)
as often as in unique progres-
sions. .
But even more important than
his startling use of chords is Diz-
zy’s entirely original articulation
and phrasing which is hardly de-
scribable through the medium of
the printed word without re-
course to highly technical termi-
nology. Suffice it to say that
Dizzy uses many new tools to
good advantage: his ever-pres-
ent turn, his hesitating double
and triple tongued runs, his tri-
plet phrases including unbe-
lievable numbers of notes, his
thick-toned approach to theme
statements, his often-stated Be-
Bop phrases, his whining-gliss-
like pick-ups—these and many
more.
Infectious Style
Dizzy’s style is strangely in-
fectious, which accounts for the
horde of musicians who imitate
him today. His style has broad-
ened the scope of many, and for
that it may be recognized as a
great boon to Jazz. However, so
many merely mimic rather than
create with the new tool, that
there is reason for concern over
its possible ill effects on Jazz.
Failure to utilize what Dizzy has
initiated to advance individual
expressiveness is due largely to
three factors: first, Dizzy is a
remarkable technician with con-
siderable range, so that a musi-
cian with less of these essentials
falls down in attempting to play
as he does; second, few men have
Cincy Three Year
Jazz Lull Breaks
Cincinnati—After a long lull
of more than three years, Cincy
is again getting its fill of fine
jazz, as dished out by Jack Tea-
garden and Duke Ellington.
The Duke made his appearance
at the Lookout House, replacing
Gene Hoctor, who has held down
the stand there for three years.
Duke has done a completely sell-
out biz.
Teagarden engagement was at
Topper ballroom, and again
starved natives turned out in
droves. Same story at the Castle
Farms, with Clyde McCoy doing
big biz.
The new Keith Wilderson band
is drawing raves with their regu-
lar NBC shot fed by WLW. This
combo is one of 12 picked men,
with some high powered arrange-
ments and fine trumpet work of
Wilderson. It’s by far the best
the WLW has put out for a long
time, and shows what can be
done when a leader with ideas
and good arrangements is not
held down to some of those 1913
ideas that come out of WLW
most of the time.
Burt Farber remains at the
Netherlands Plaza, and is doub-
ling as studio conductor at
WSAI, doubling his Plaza band.
—Bud Ebel
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an imagination like Dizzy’s, and
those that do not frustrate their
effort in trying to conceive on his
ane.
The third deserves a new para-
graph, for it is the most signifi-
cant factor of the problem. The
reason most musicians fail to
create while emulating Dizzy is
that they do not completely un-
derstand his music!
Extremes of Meaning
Incorporated in all inspired art
are two extremes of meaning—
subtle, intellectual beauty and
passionate, animal emotion.
Thomas Wolfe spoke zealously of
the absurdities and hypocracies
in the life of Mr. Average Ameri-
can in the medium of a prose
that has hardly been equalled
for sheer, poetic beauty. Picas-
so’s Blue Period consists mainly
of sensitive, aesthetic portraits,
each having an undercurrent of
almost psychotic frenziedness.
Jazz, as one of the most expres-
sive of all art forms, follows this
pattern to great lengths. Exam-
ples are plentiful: Hawk’s Body
And Soul, Ray Nance’s Moon
Mist, Lunceford’s Frisco Fog,
Duke’s Chelsea Bridge, Choo Ber-
ry’s Ghost of a Chance—and Diz-
zy Gillespie. Dizz is misunder-
stood because, inadvertently, all
the listener hears is the violent
and animal tenor of his crea-
tions; the finer, more subtle, sub-
New Music Prize
To Irv Berlin
New York—Irving Berlin, whose
skinny chest boasts more ribbons
than Woolworth’s bargain coun-
ter, recently had to re-shuffle the
decorations to make room for a
new one.
Writer was handed an award
for “Distinguished Service to
American Music” by the Satur-
day Review of Literature. The
honor, fifth given by the maga-
zine to individuals and organiza-
tions for outstanding work,
marked the first time a musician
had been singled out for recogni-
tion. Presentation was made by
Douglas Moore, head of Columbia
University’s Music Dept. and
president of the National Insti-
tute of Arts and Letters.
jective melodic line is missed, and
with it the complete picture of
Dizzy’s genius.
Too Much Pseudo Dizzy
Particularly where lesser mu-
sicians are performing one hears
too much pseudo-Dizzy—all the
kicks, licks, turns, riffs, embel-
lishments, or what have you.
Only when Dizzy’s style is played
by an equally capable artist are
these superficial qualities percep-
tible as part of a more meaning-
Turn Copper
New York — Simultaneously
with the news that some foul fel-
low posing as a musician had put
the tapper on several noted
bandleaders (Vaughn Monroe
went for a fast fifteen before
the crumbum blew) the Sheriff’s
Office of Passaic County, N. J.
announced the appointment of
four new Special Deputies—all
Bandleaders.
There was, as far as could be
ascertained, no connection be-
tween the two _ items.
Quartet of new John Laws are
Basie, Eckstine, Lunceford and
Buddy Johnson. The FBI, not at
all frightened that the play will
be taken completely away from
it by the new junior-G men, sus-
picions that a press agent had
something to do with it.
ful thematic structure.
Here, then, is where the threat
to Jazz lies. If the number of
Dizzy devotees who are incapa-
ble of playing Dizzy’s style be-
comes excessive, the mass per-
version of creativeness by way of
imitation may lead to the sacri-
fice of Jazz at the altar of God
Be-Bop. —Mort Schillinger
Petrillo Ban Starts
International Bout
Los Angeles—James Petrillo’s
refusal to permit the Lecuona
Boys, a group of young Cuban
musicians and entertainers, from
appearing on the stage of the
Orpheum theater, is well on its
way to becoming an international
incident.
Dr. Oscar Presmanes, Cuban
Consul for Los Angeles, who says
the troupe of 15 boys and two
girls is sponsored by Cuban gov-
ernment as part of the “Good
Neighbor” policy concurred in by
U.S. and Latin-American coun-
tries, has reported the incident
i/to the Cuban ambassador in
Washington. He asserted that
the Lecuona troupe had been ap-
pearing in the U'S. since last fall
with no opposition from any
other labor body. They appeared
here at the Mayan theater for a
long run with no difficulties.
Petrillo’s ban was based on the
fact that the troupe contains
musicians who are not members
of the AFM. Sherrill Corwin,
Orpheum manager, said he had
assumed that they were classed
as entertainers and not under
AFM jurisdiction.
Symmetricut Reeds deservedly are
in the spotlight! Proudly groomed
by Mr. Ciccone to pass the most rigid tests,
Symmetricuts merit the honor
of the world’s finest artists.
16
Ballrooms Feature
Two Bands Nightly
Pittsburgh—Danceries here are
inaugurating a new idea to build
up the various spots by featuring
two bands nightly. One band
usually plays from 8 until 10:30
p.m., and another, usually a
jump outfit, takes over from 11
until one a.m.
When the Dom Treemarki Trio
moves into the Roosevelt hotel
late this month they will be re-
placing an outfit which set a
precedent here in length of
steady engagement. Dick Averre’s
Trio has played the swanky spot
for nearly five years. The Tree-
marki combo will feature young
Billy Condel, sensational vibe ar-
tist just out of the army.
Baron Elliot’s newly formed
ork is at Bill Green’s Casino for
a two-week stint .. . The Neenie
Waters Trio has ended a 14-
month run at Mercur’s Music
Bar. Harry Walton, well-known
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NEWS—FEATURES
Chicago, February 11, 1946
pianist continues at that spot ...
The Sammy Vincent jump combo
pulled out of the Cabana club
to make way for Kenny Clark.
—Sinbad A. Condeluci
Louis Prima Follows
400 Date With Strand
New York—Louis Prima seems
as hot as ever, for he took his
band into the 400 Club for six
weeks, opening on Feb. 6. After
the following month of one-
nighters he does a four-week
stint on the Strand theater
boards, at a fat figure of $12,500
per week, record for that house. |
Avakian Back
Los Angeles—George Avakian,
jazz authority, was waiting for
his final papers here for sever-
ance of military ties. No plans
were disclosed, beyond returning
to his New York home as early
as possible.
Warren Sticks
To New Crew
New York—Talk in musical
|circles which has Earl Warren
returning on a permanent basis
to Count Basie’s crew is upsetting
to the alto-man, who has round-
ed up a fine little crew for him- |
self and intends to stick with —
Warren left Basie some six
months ago, and rumor fre-|
quently had it that deals were |
| pending, etc, for him to rejoin
the Count’s band. In quashing
the idea once and for all, War-
ren points out that his group,
booked by Greshler and man-
aged by Freddie Fields, has been |
set for a southern tour after a
series of dates for Melrose label. |
Personnel of Warren’s Band,|
| plus Earl on alto and vocals, lists |
Charlie Lewis, trumpet; Charles
| Mescudi, drums; Kenneth John-
|son, bass; Herman Smith, piano;
land Bob Kenerly on trombone.
Tiny Bit Atomic
Tokyo — Japanese jitterbug
janes (they’ve learned since the
occupation) created something
of a problem for city fathers
here during stand of Tiny Brad-
shaw’s orchestra. What with the
girls getting sent, along with
their GI partners, bamboo build-
ing in which one shindig was
held threatened to collapse.
Now the band plays out of
doors, where the vibrations
aren’t likely to have the same
atomic effect on the framework.
Kemper Does Single
Los Angeles—Ronnie Kemper,
once featured vocalist with Jur-
gens and Heidt bands and band-
leader himself for a time, states
no immediate plans beyond
working as a single. Kemper
received his discharge from the
army last month in Sacramento.
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Some Still
Believe In
Jazz's Future
(Jumped from Page 10)
the Orpheum theater on Broadway,
I heard a guy play Body and Soul
on tenor and he didn’t attempt to
imitate Hawkins. He didn’t have to,
He was doing all right with his own
ideas. Vido Musso was right that
night and again I thought, “What
the hell were those jerks talking
about?” I heard a blonde who
smacked of O’Day without being
affected. I heard June Christy sing
jazz, very pleasantly and in perfect
taste. And I noticed a beat and ex-
huberance on the part of the entire
organization that gave me the im-
pression that these guys were enjoy-
ing their work. And as a result |
enjoyed the Kenton band.
If I had any doubts at all as to
the absurdity of the “Jazz is dead”
nonentities, they were erased the
| night I stepped into the Jade Palace
and went clear out on a limb to the
music supplied by Kid Ory. I
noticed here that no music was used
at all, that no pops were played,
that the musicians played what they
wanted to play and the customers
| asked for at the same time. Request
numbers were performed through-
out the night but the guys buying
| the drinks knew what to ask for.
| Shine made me stand up and take
| notice. There was something un-
earthly about the quality of the
music being played. The simplicity
of the arrangements made all of
them seem to be impromptu. And
| there was a guy playing clarinet
| who stole the show. I thought I
recognized him and I finally did—
not by watching but by closing my
eyes and listening. Barney Bigard
was right. Barney was great. Bar-
ney was playing what he wanted to
play and he put a hell of a lot more
into it than air. Sweet Lorraine
never sounded quite so sweet.
The Guys are Happy
After the band left the stand
I caught Barney and asked him
what he thought of the set-up.
He replied that he was happy
because the management offered
no restrictions whatsoever as to
what the musicians were to play
or how they were to play it. And
Barney and The Kid and Mutt
Carey and Budd Scott sounded
happy. And it made the guy lis-
tening to it feel happy. And it
made him reaffirm his belief that
jazz has gone a long, long way
since he stored his priceless plat-
ters in his locker and went to sea
wondering if there would ever be
stuff recorded that would be as
good
The answer obviously is yes. El-
lington is appreciated today as he
never was before. The Herman
Herd is recognized. Sidemen like
Slam Stewart, Hodges and Bill
Harris are known to the public as
well as the guys fronting the crews.
A bright new era is here. The pub-
lic bear is coming out of its forced
hibernation.
Veterans like me are glad to be
coming back to this kind of a coun-
try. For if Americans can be liberal
enough to recognize that which they
| have been taught for years is cheap
is instead a truly aesthetic quality,
then we can feel that they can be
counted upon to practice those lib-
eral beliefs in political and eco-
nomic veins as well.
Jazz is not dead. It is a live,
growing, forceful, expressive thing
which will have much to do with
the progress of a great people in
a great nation.
Insist on the Genuine
HARMON
(Wow + Wow)
MUTES
They’re Back Again
Better Than Ever
Chicago
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1946 Chicago, February 11, 1946 NEWS—FEATURES DOWN BEAT ad
° would hypo Cleveland music to D k W °,°
tT b 38 a ck the highest pitch it’s ever been. Tough Waxes u Ee r iting
aZZ e S ring Great local ae we See at F J bo
the Singapore recently w ues ee J O
ld C] | d D singer Frankie Laine, visiting old pad nesta = aie aZZ pera
friends here, knocking out a ca- ew ork —Davie ough,
O eve an ays pacity crowd with his work. Also| Down Beat poll winner, who is ang — a egg meee
: . {around were trumpeters Ray | now with the Joe Marsala Septet, | W020 tnrea ye 0 wri : A =
e Cleveland—Return of local jazz favorites from the service | anthony and Chuck Forsythe|has waxed two platters for the eee —, a nye oa —
has the town jumping for musical joy these days. Despite a|(the former rehearsing a very | Jamboree label. | 18 & 3 . TO aan aan Seen
r strike for the last month and with the lack of ad-|impressive aggregation of local) Musicians used_ were Joe the D ng on K ibat 7 i ae
om newspape “ike | a iach eae lity |men for the big time), and clari-| Thomas, trumpet; Bernie Leigh- | “uh be Te id 1 eC > take
way. vertising making itself felt in slower night spot biz, the quality | ,.ti;t sammy Finger. ton, piano; Ted Nash, tenor sax; | t° A e omg Sen y a poh ge
pe of hot music certainly hasn’t fallen on ja, ‘Morey Feld. now —Art Cutlip Jack Lesberg, bass; and Tough, | Fat tc be lhe _—< jain
. off. Though several ee eo New York radio staffman, Freddy drums. Tunes Poe § J Were | Ellington and travel with him
= are still missing, it seems like the |<) arp, guitarist with the Adrian| Special Military Rate of $3 a| Meant For Me, East Of The Sun,| 9) at) 8 orchestra until project
—s “good old days” again for Cleve-|P jini Trio, Irv Greenwald, clar-| year has been extended to in-|Love Walked In, and When) % commmeted
that land. de Lux Lewis still holding | imetist in Los Angeles, are sorely| clude all honorably discharged You’re Smiling. Idea was conceived by produc-
What meee 5 Lawes & o'ding |missed from the local scene.|service men and women. Effec- ers Dale Wassermann and Perry
Iking out at Lindsay’s, with the owners |poir return, at least in part,! tive to December 31, 1946. ‘ Watki d was immediately
whe more than anxious to spend real | “~~~ : ’ Cozy Cole Quits Rose atkins and was ;
hilien dough to bring in strong musi- embraced with great enthusiasm
ae cal attractions. . . Norm Kay e e e 4 : by Ellington. Production is de-
Be trio continues at the Singapore Buddy Di Vito On Chi Vacation Show For Publ. Biz signed not only to refute the
erfect Lounge with Mickie Aaronson, New York—Drummer Cozy Cole | theory that good jazz rarely finds
id ex- clarinet, and Art Cutlip, piano... has quit the Carmen Jones|its way to the theatrical stage,
entire Two fine local hot men lost, show to return to New York to| but also to show that a huge in-
e im- musically at least, with clarinet- go into song publishing biz with | ter-racial cast, used only with an
*njoy- ist Sammy Finger with the Hen- Walter “Foots” Thomas. First|eye to talent and without dis-
sult | ry George band at the Cabin Club number they'll plug is Remaining | crimination or differentiation,
and saxist Johnny Huntington Souvenirs. Cozy didn’t disclose|can add greatly to present-day
with George Duffy at the Statler. whether or not he still has eyes | entertainment forms.
oo & Town’s hot on piano men, now for fronting a big band, he’ll do| Rehearsals were scheduled to
a = - aw past when = Tatum some song plugging first. start next month.
rs eaded an impressive’ group. eee : eee esi wet ani stn
alace Lannie Scott working with a vo- | es
0 the ealist at Ethel's bar; Chet Ryks ?
rye at Gallagher’s, playing organ;
s used Ray Raysor at the Airport Tav- Y R What _ Increased
layed, ern; Tony Emma, piano and our Koom + Entertainment Profits
t they band, at Borcellino’s; Art Baum-
omers gardner working as solo pianist ?
quest at the Fenway Hall hotel and dati
ough- ditto Kennie Rasmussen at the | Let Us Make a Recommendation
uying El Dorado club, Hank Kohout,
: for. staff Ster at WHE. a : McCONKEY ORCHESTRA COMPANY
take an raser is taking an all- < SHELTON, E i Consultant
= oo vet band into the Alpine Village | | DICK SHELTON, Entertainment nsultan
use Eg fg | Chicago—Buddy Di Vito enjoyed a few with his cousin Mike Di In Chicago, 127 N. Dearborn - - Phone State 7332
all of Emil Hess, Henie Mack, Bill Tei-| Vito at the Silver Frolics club on a recent visit here. Buddy rejoined | In Kansas City, Chambers Bldg. - + Phone Victor 3346
@* > end i gieamn. deb is one| the James outfit early this month at the Meadowbrook, Culver City, | aa See
larinet of the better ones around. | Calif. Sm AT ——
ight I Will Rosenberg, one of the j|~
did— eat jazz trumpet men is dou-
ng my ling between the Palace theater | }
ei | wearers =| BOR IMMEDIATE DELIVERY
. Bar- outstanding local hotmen, such | °
ted to
{ more
H e*
— Milton G. Wolf
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18 DOWN BEAT
NEWS—FEATURES
Chicago, February 11, 194
Danceable, Listenable
No Smaltz-Elgart Band
New York—“Band is aiming at popular success by slanting
its music on a sweeter (not sweet, like mickey-mouse) kick.”
“The arrangements alone should get this band plenty of lis-
teners.”” Those are the words written in the Beat last March
about the band fronted by Les; :
Elgart. Reading further: “it should |
Terry Parker do a fine job on
: - .. | vocals.
develop into a good booking bet.”| Bong was organized by trum-
More than that, these past few | neter Les Elgard and his brother
months at the Rustic Cabin in| [arry, saxist, with fronting taken
Englewood, N. J. have served to de- | over by Les, who has developed
velop to the last note the unique | ease of a veteran maestro.
style anticipated at its inception.| Debuted at Pelham Heath in
Elgart has been at Rustic Cabin
since last October.
If you like your music listen-
able, as well as danceable, heavy
on the sentimental side, without
the smaltz, then this band has it.
| January "45, the Elgart band has
kept busy ever since, without a
layoff. But the results have been
worth the efforts. With its rich
tonal quality, reminiscent of
melodic organ passages, its vol-
ume and good musicianship,
watch for this band to emerge
as a real surprise band of the
year. It should go far.
Elgart has a group of young mu-
sicians who do real justice to
those beautiful Bill Finnegan ar-
rangements. Lynn Richards and
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Byrne Out To
Regain Title
New York—Bobby Byrne, a
favorite at college dances in pre-
war days, is out to regain his
popularity and is currently play-
ing a series of college dates.
Byrne, who spent nearly three
years in the army, took a month’s
rest before he organized his
present band last fall and has
had a busy schedule since.
Stopping here for rehearsals
a few days last month, after
completing a successful series of
one nighters and club dates,
go, drums; Ray Marasco, bass;
Sunny Weldon, piano; Danny
Gregas, guitar. Peggy Coffey, a
Lowell, Mass. girl recently joined
as vocalist, with Bob Hayden the
other half of the vocal team. Ar-
rangements are by Len Whitney.
George Nowlan, Sunny Weldon
and Danny Gregas were mem-
bers of Byrne’s original band.
| Band Robbery |
Byrne told Down Beat he feels
his band is ready now, with all
the rough spots ironed out, for
the more lucrative deals that
were beginning to come his way
when he disbanded to enlist in
the air corps.
Personnel: Jimmy Lamare, Sy
Cohen, Stan Weiss, Dale Thomp-
son, Toney’ Barbero, reeds;
George Wall, Sal Giovanetti,
Frank Banko, trombones; Al De
Risi, Tempy Conner, George
Nowlan, trumpets; Toney Ron-
the Blackhawk Restaurant band
by thieves
paid their
to the loot.
claims for articles stolen.
looks like she hasn’t lost a thing!
respects.
Chicago—Recently Chuck Foster’s instruments were stolen from
Foster, in the top picture, point to hole in roof which was cut
to gain access to the instrument room. It’s a lucky thing
for Foster that his chirp wasn’t present when the second-story men
It’s for sure Miss Paul would have been added
Bottom photo shows members of Foster’s crew presenting
It’s a big headache for Foster.
Marilyn Paul and Chuck
room.
Marilyn
Trumpet,
—IT IS FREE! Develop your
FIT” way.
“BUILT-TO-FIT’. MOUTHPIECES
Trying to find a suitable mouthpiece by methods commonly
employed is like searching for a needle-in-a-haystack—
HARDLY ONE CHANCE IN A MILLION OF FINDING IT!
Now it is possible, necessary, and EASY to have the right
mouthpiece. But to keep on trying the old way, the guessing
way, the “needle-in-a-haystack” way, one will never find it.
The new way, the BETTER way, is the BUILT-TO-FIT way,
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You don’t want to still be looking for that suitable mouthpiece
TWENTY YEARS from now, do you?
card asking for information on “BUILT-TO-FIT” mouthpieces
Harry L. Jacobs, 2943 Washington Bivd., Chicago 12, Ill.
Phone Nevada 1057
BBC To Pipe q
Donahue Band
For Re-Cast
New York—That Petrillo’s re.
cent ban on American broadcast.
ing of foreign musical programs
hasn’t worked in reverse will be
demonstrated by sax-tooting
maestro Sam Donahue if certain
arrangements can be worked out,
The leader, if his current plot
— will become the first band.
eader whose music will be broad-
cast regularly on an international
hookup when he launches his
new band shortly.
For a time it was thought in
some circles that Petrillo’s edict
might have repercussions, in that
BBC and other foreign nets
might thumb down some Ameri-
can programs in reprisal. But
Donahue reports that officials of
the British Broadcasting Corp,
are trying to make arrangements
with the various American net-
works to pipe his sessions over
the Atlantic for re-cast via BBC,
Did Air Shots Before
While he was in England in
1944 and part of 1945 with his
Navy Liberation Forces Band,
|Donahue did more than 200
| broadcasts via BBC and amassed
}an important following through
the British Isles. He captured
top honors in one orchestra pop-
|ularity poll that was conducted
on a BBC disc show.
Cecil Madden, BBC program di-
rector, upon learning last month
|that Donahue had been dis-
|charged from the Navy and was
setting out with a new band, im-
mediately contacted the front-
man and informed him of his
plans to air the Donahue band
via the British network.
Two Discs Popular
Two of Donahue’s recordings
which he made some four years
ago with his pre-war band, are
currently among the ten most
requested discs on BBC recorded
programs, Flo Flo and Siz Mile
Stretch, both Donahue originals
on the Victor-Bluebird label.
Baltimore Goes
For Name Orks
Baltimore — Name bands a-
plenty here, and all doing good
Trombone
Then send me a postal
embouchure the “BUILT-TO-
Conductor).
The Benge Trumpet is Back
e Recognized by top professionals as the very last word in
trumpets, because of its close approach to the tempered
scale and the general excellence of its playing qualities.
e Built under personal supervision of Elden Benge—(11
years first trumpet, Detroit and Chicago Symph. Orchs.,
now first trumpet, Chicago Philharmonic—Henry Weber,
e For name of nearest agent or for further details, write
E. E. Benge Co., 1945 Morse Ave., Chicago 26, Illinois.
biz. Woody Herman is due for 4
| jazz concert at the Lyric, too.
| Local nitery, the Rio, starting
name band policy with Jack Tea-
garden doing big trade; follow-
ing are Bob Chester with Slam
Stewart and Cris Cross set for
|February. The Coronet Lounge
|}owner is in New York shopping
|for top bands.
Stacy Vance back with an all-
|vet band, Ellington styled, with
Helen Berhard and brother Paul
|set for vocal spots... Ziggy
| Travers Trio make for nice lis-
|tening at the Club bar .. . Bob
Barber, ex-Kenton tramist, leads
|a five-piece combo at_ the
Chunking.
—Buddy Howard
Estelle Slavin Crew
‘Breaks Copley Policy
| Boston — All femme quartet
| headed by Estelle Slavin, one of
the better known girl trumpeters,
| opens Copley Terrace here March
10. Act, something different in
small combos, is tabbed Estelle
and her Brunettes and is an ex-
pacnnent for the club, all-male
ands having held down the spot
| since its recent opening.
—
Female Draw
New York—The Four Broth-
ers, nice-looking vocal quartet
featured with Art Mooney, don’t
know whether they’re imagining
it or not, but they fancy they're
getting frequent green-cyed
stares from females in_ theif
audiences.
News came out last week that
they owned an interest in a mi
farm.
Chica
Di
Di
¢
verse I
that ta
JAY M
Hoot:
couplec
Breakd
Sextet
Boogie
Blues.
(Premi
SLIM ¢
The
fine mu
tured
wood
Please
Slim’s
Boogie
Boogie,
(Premi¢
Pm
Duke
usual—
a fine 1
done, w
appeal
tune its
any Elli
around
Lucky
ler deli
Guy ha
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body, is
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corny 0]
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with Ph
GEORG!
Wave
You Ar
——__——____
Divi
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and
illo’s re.
oadcast-
rograms
> Will be
tooting
F certain
rked out,
ent plot
st band.
e broad-
national
shes his
jught in
o’s edict
3, in that
zn nets
> Ameri-
sal. But
ficials of
ig Corp.
gements
“an net-
ms over
via BBC,
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sland in
with his
s Band,
lan 200
amassed
through
saptured
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en dis-
and was
and, im-
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1 of his
ue band
4
cordings
ur years
and, are
2n most
recorded
Siz Mile
originals
abel.
eS
‘ks
inds a-
ng good
ue fora
:, too.
starting
ack Tea-
follow-
th Slam
set for
Lounge
hopping
ow
olicy
quartet
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mpeters,
‘e March
erent in
i Estelle
S an ex-
all-male
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———$—
Chicago, February 11, 1946
Diggin’ The
Discs—Don
(Jumped from Page 8)
verse has a Billy Daniels vocal
that takes up too many grooves.
Others
JAY McSHANN
Hootie Boogie, with a trio, is
coupled with Garfield Avenue
Breakdown as are the McShann
Sextet sides on Crown Prince
Boogie and Shipyard Woman
Blues. Last three include vocals.
(Premier 29010 and 29011.)
SLIM GAILLARD
The mad humor (as well as
fine musicianship) of Slim is fea-
tured on Vout Orenee, Holly-
wood jive talk number, and
Please Wait For Me, both with
Slim’s vocals; and Sightseeing
Boogie and Central Avenue
Boogie, with two pianos and bass.
(Premier 4104 and 4105.)
Dance
DUKE ELLINGTON
The Wonder of You
Pm Just a Lucky So-And-So
Victor 20-1799
Duke’s combination here is un-
usual—for one thing it couples
a fine new Ellington ballad, well
done, with one that carries little
appeal in the arrangement or
tune itself. And it’s unusual for
any Ellington number to lack all-
around appeal. Good side is
Lucky So-And-So, with Al Hibb-
ler delivering a wonderful vocal.
Guy has improved tremendously
—as was well illustrated in re-
cent Ellington concerts, where
he actually stole the shows. His
style, still affected, is smoothing
out, his delivery is more certain
though he still retains that
thrilling punch that’s all his own.
Backgrounds are fine here,
though Le gi O Wonder
of You, which Joya Sherrill sings.
Interesting sidelight is Victor’s
practice of invariably labeling
the side least musically interest-
ing as the “A” side. Even in the
case of two ballads, “B” side is
the side to dig. Which should
illustrate something or other.
WOODY HERMAN
Everybody Knew But Me
Let It Snow!
Columbia 36909
Irving Berlin’s latest, Every-
body, is another lucky recipient
of the melodic and always inter-
esting treatment that Ralph
Burns’ ~~! genius lends to
ballads. Woody has been in con-
sistently good voice, he again de-
livers. Other side is a rather
corny opus for the Herd, but they
bounce through it with little
trouble, if less attention. Two
trumpet solos spark the sides,
with Phillips’ tenor lending plen-
ty to Everybody. Trumpet work
on that side, by talented Sonny
Berman, is worth listening to
closely. Woody’s clarinet is also
heard; and Bill Harris has a
trombone solo on Snow, though
Bill doesn’t quite get going.
BENNY GOODMAN
Give Me the Simple Life
I Wish I Could Tell You
Columbia 36908
Benny’s in good form, as is the
band—though the band is stereo-
typed as far as the arrangements
are concerned. Benny’s clarinet
isn’t stereotyped, never is, and
only a fool would admit as much.
Liza Morrow takes vocals, and
aside from a tenor solo it’s all
a and Benny.
Others
GEORGE PAXTON
Wave To Me, My Lady and
You Are Too Beautiful, with vo-
UNUSUAL
Dixieland Arrangements
For Trumpet, Clarinet, Tenor,
(Optional Tromb.) and Rhythm Section
$1.50 — FREE LIST
RED FOX—1245 N. Vine
Hollywood 38, Calif.
NEW'S—FEATURES
DOWN BEAT Ig
cals by Alan Dale, Johnny Bond
one the Five Lynns. (Majestic
»
THREE SUNS
Twilight Time and It’s Dawn
Again, right down the alley of
this threesome, and it’s okay
mood instrumentals. (Majestic
A
NEILL McCAFFREY
Franz Lehar’s Villia and Tea
For Two, as well as Night and
Day and Atomic, by George
Weiss, are the releases from this
new company. Marge Hyams,
late of the Herman Herd, is fea-
tured on vibraharp. (American
A-2001-04.)
KAY KYSER
I Don’t Wanna Do It Alone,
with a Lucyann Polk vocal, and
she sounds very nice on a little
bit of an Anita O’Day kick, and
Slowly, with Michael Douglas,
are good Kyser dance stuff.
(Columbia 36900)
XAVIER CUGAT
A couple of rhumbas from his
picture, Holiday in Mexico, are
recorded; Oye Negra and Walter
Winchell Rhumba. Sounds like
Cugie is looking for a plug.
(Columbia 36902)
TINY HILL
Shades of the gay 20’s. Noth-
ing like a Tiny Hill vocal! Siour
City Sue and I’ll Keep on Lovin’
oe are the tunes. (Mercury
2024)
Vocal
JOHNNY DESMOND
Don’t You Remember Me
In the Eyes of My Irish Colleen
Victor 20-1796
Johnny has been the GI swoon-
fave (with the Glenn Miller AAF |
band), before that sang with)
Gene Krupa, among others. This
|is his debut on his own, and,
| while it shows excellent voice and
Winchell Magic
New York—They’re still talk-
ing pro and con about whether
or not Winchell’s famous _ re-
mark had any effect on the stock
market.
It’s strictly non sequitur, but
the day after he gave an orchid
to The Moment I Met You, Buck
Ram’s latest, the song sold close
to 10,000 copies.
ment of all the rave notices read
beforehand. For one thing, his
high notes are strained. Russ
Case’s backgrounds could have
been better. Too bad there’s only
one Axel Stordahl, he could have
helped here.
JACK LEONARD
Welcome to My Dream
Full Moon and Empty Arms
Majestic 7165
Tunes are good, but some-
thing’s wrong on Jack’s Majestic
debut. Maybe it’s Tommy Dor-
sey’s background that’s missing.
Neither his voice or phrasing are
worth raving about, yet we'll re-
serve judgment awhile longer.
He will undoubtedly do better.
Others
SKIP FARRELL
I Wish I Could Tell You and
You Can Cry On Somebody Else’s
Shoulder is the latest Farrell
coupling, these with the assist-
ance of Frank DeVol’s studio ac-
companiment. (Capitol 232.)
NANCY NORMAN
Miss Norman, who did well
enough for herself with Sammy
Kaye, has better backing from
Enoch Light as she sings Snap
Your Fingers and Everytime I
Give My Heart. (Guild 150.)
JULIA LEE
| nice style, isn’t quite the fulfill-
| WITH HIS GOLDENTONE
FINISHED BEFORE THE
Golde
“MORTIMER GETS SUCH INSTANT RESPONSE
Tommy Douglas and band get
Rae
PLASTIC, HE'S ALWAYS
REST OF THE BAND.”
ntone
PLASTIC REED
Instant response is only one fea-
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$1
Also available for Alto Clarinet, Bass
Clarinet, Soprano Sax, and C-Melody
Sax at $2 each.
For Clarinet, Alto and
Tenor Sax ...
PRODUCT OF SELMER
Sel. No. 42
equal billing with the singer and
jianist on the Premier label.
unes are If It’s Good and Show
Me Missouri Blues with Dream
Lucky Blues and Lotus Blossom. |
Kaycee blues,
29012 and 29013.)
CURT MASSEY
Curt may surprise some, for
the lad sings nicely and Mitchell
Ayers again provides nice ac-
companiment. Tunes are Don’t
Lie to Me and The Gang That
Sang Heart of My Heart. (Col-
umbia 36885)
FIVE DeMARCO SISTERS
Hop, Skip and Jump! and Flat
River, Missouri get the kid’s har-
monic treatment, as Bud Free-
man takes care of backgrounds.
(Majestic 7160)
JIMMY WAKELY AND EDDIE
MILLER
Rather bad hill-billy singing,
with Eddie brought down by it
all—yet nice Dixieland work and
a good trumpet man lend some
interest to I’ve Got Nuggets In
My Pockets and Too Bad Little
Girl Too Bad. (Decca 18728)
PHIL REGAN
Two old timers, Sunbonnet Sue
and By the Light of the Silvery
Moon, are done up by Mr. Regan
with the help of Harry Blue-
stone and ork, with the Majestic
Male Quartet adding to it all on
Moon, (Majestic 7161)
too. (Premier
|Whiskey Head Buddies
TED MARTIN WITH THE MACK
TRIPLETS
Emil Coleman’s Waldorf As-
toria orchestra pitches in with
the above named on Honey and
I’m Always Chasing Rainbows.
(DeLuxe 1006)
TAMPA RED
Bluebird label surprisingly gives
credit to Macio Merriweather,
piano; and Tyrell Dixon, drums;
on Red’s blues on Mercy Mama
and Better Let My Gal Alone,
both by Hudson Whittaker.
(Bluebird 34-0740)
JAZZ CILLUM
Two more blues sides, on
and
Afraid to Trust Them. (Bluebird
34-0741)
Novelty
ANDREWS SISTERS AND GUY
LOMBARDO
All add up to novelty more
than vocal or dance, and you
have to like the artists in par-
ticular to get any satisfaction.
Money Is the Root of All Evil,
Johnny Fedora are the tunes.
(Decca 23474)
HOOSIER HOT SHOTS
Two Ton Baker guests on Siour
City Sue and Sally Foster guests
on There’s A Tear In My Beer
Tonight. Nice and corny. (Decca
’M TOUGH
ON DRUMS
18745)
@ It’s unanimous! In both the Down
Beat and the Metronome polls Dave Tough is
acclaimed the nation’s outstanding drummer.
Dave’s genius Is an unbeatable combination of
technique, drive, power and dynamics. To make
the most of his talents, he demands the best
in drums—WFL drums, made under the personal
supervision of drum-famous WM. F. LUDWIG,
who has been building drums for 50 years.
When top drummers like Dave Tough use
WFlLs, you can be very sure they are tops in
everything you look for in drums. Write for
free descriptive
literature on drum outfits
now rolling out of our big modern factory.
WM. F. LUDWIG
1728 North Damen Avenve, Chicago 47, Ilinols
DOWN BEAT
BAND ROUTES
Chicago, February 11, 194§
Where the Bands are Playing
EXPLANATION OF SYMBOLS: b—baliroom; h—hotel; nc—night club; r—restaurant; t—theater;
cc—country club; CRA—Consolidated Radio Artists, 30 Rockefeller Plaza, hia FB—Frederick
Bros. Music Corp., RKO Bidg., NYC; MG—Moe Gale, 48 West 48th St., ; GCAC—General
Amusement Corp., RKO Bidg., NYC; /C—Jjoe Glaser, 745 Fifth Ave., NYC; gaara Corp.
of — 745 Fifth Ave., NYC; HFO—Harold F. Oxley, 424 Madison Ave., NYC; SZA—Stan-
fed Zucker Agency, 501 Madison Ave., NYC; WMA—William Morris Agency, RKO Bidg., NYC.
A | Cc
Agnew Charlie (Plantation) Houston, a Frankie (Earle) Philadelphia, 2/15-
Cisng. 2/19, ne t
Alien, Red (Onyx) NYC, ne R.A Russ (Continental Grove) Akron,
Armstrong, Louis (Plantation) St. Louis, oO.
Cisng. 2/21, ne Cavallaro, Carmen (Biltmore) NYC, h
B | Chester, Bob (Paramount) NYC, t
side: hie Xitediis Caaetied ‘Melectt. we | Cool, Harry (Grand) Evansville, Ind., 2/20-
, 1 Q t. 26. t
a. — (Stairway -to-the-Stars) | Coleman, Emil (St. Francis) San Fran-
icago, ac a = : cisco, h
ae © _ hd te » Ovng. 2-20, & | Crosby, Bob (Palladium) Hollywood, Cal.,
° ay e 0 - ac
Bevington, Bob (Grove) Orange, Texas, Cummins, Bernie (Castle Farms) Cincin-
Bishop, Billy (Indiana Roof) indlamepelie, Yong. 2/15
b } nati, Opng. 2/15,
Brandon, Henry (Edgewater Beach) Chi- | | D
cago, | Davidson, Cee (Rio Cabana) Chicago, ne
Brandwynne, Nat (Statler) Washington, | Johnny “Scat” (Claridge) Memphis,
D. C. Cisng. 2/13, h
Brewer, " Teddy (McCurdy) Evansville, Ind., | De Foe, Sonny (Riverside) Green Bay,
h fis., ne
Brown, Les (Pennsylvania) NYC, h | Donahue, Al (Trianon) Southgate, Cal., nc
Busse, Henry (Palace) San Francisco, h Dorsey, Jimmy (Plymouth) Worcester,
ee
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#13 Trampet Model 8; Mediom Cup. . 1.25
#15 Trompet Medel C; Beep Cup . . 1.25
Sn ees Se
List Price
#19 Cornet Model E; Deep Cup. < . $1.25
#21 Cornet Model 6; Med. Shallow Cup 1.25
#23 Trombone Model T; Med. Shallow Cup 1.50
#25 Trombone Model 1-2; Deep Cup . 1.50
Mass., 2/11-13, t; (Metropolitan) Provi-
dence, R. L., 2/14-17, t
Dorsey, Tommy (Terrace Room) Newark,
Opng. 2/19, ne
os anne Sonny (Flagler Gardens) Miami,
E
Eckstine, Billy (Adams) Newark, 2/14-20,
t; (Howard) Washington, D. C., Opng.
2/22,
Elgart. Les (Rustic Cabin) Englewood, N.
J., ne
Ellington, Duke (Paradise) Detroit, Aree,
t; (Regal) Chicago, Opng. 2/22,
F
— pate (Royal) Baltimore, Cisng.
PR ng Chuck (Blackhawk) Chicago, r
Fulcher, Charles (Sheraton Bon Air) Aug-
usta, ‘Ga.,
G
Goodman, Benny (Meadowbrook Gardens)
Culver City, Cal., Cilsng. 2/3, ne
Gray, Glen (Terrace Room) Newark, Clsng.
2/17, ne; (State) Hartford, Conn., 2/22-
24, t
Lionel NYC,
Hawkins, Erskine (Apollo)
2/14, t; (Lincoln) NYC, Opng. 2/15, h
Hayes, Sherman (Alamo) Fords. N. J., ne
Herman, Woody (Michigan) Detroit, Opng.
2/99
Hines, Earl (El Grotto) Chicago, ne
Howard, Eddy (Aragon) Chicago, b
Hutton, Ina Ray (Oriental) Chicago, Clsng.
2/20, t
H
Hampton, (Apollo)
2/21
Opng.
NYC, Clisng.
J
James, Harry ‘<<; Gardens) Cul-
ver City. Cal.,
——_, Buddy (Paradise) Detroit, Opng.
Kassel, Art (Trianon) Chicago b
Kenton, Stan (Meadowbrook) Cedar Grove,
N. J., ne
King, Henry (Mark Hopkins) San Fran-
cisco, h
Kinney, Ray (Palace) Columbus, O., 2/18-
20, t; (Circle) Indianapolis, Opng. 2/21,
t
HOT JAZZ FANS!
IMMEDIATE DELIVERY
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Joe Marsala, Clarinet; joe Thomas,
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Linda Keene, Vocal.
ZERO HOUR, ROMANCE; JOE JOE
JUMP, DON’T LET IT END; BLUES IN
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BLUES BEFORE DAWN; POOR LANG
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[] THESE FOOLISH THINGS; BLUES IN
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SLOVACEK MUSIC HOUSE — WACO, TEXAS
LOCKIE’S
Headquarters for
NAME BANDS
$50 So. Broadway
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1521 No. Vine St.
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Krupa, Gene (Orpheum) Los Angeles, 2/12-
18, t
L
Lewis, Ted (Latin Casino) Philadelphia,
Cisng. 2/14, ne
Lombardo, Guy (Roosevelt) NYC, h
Lopez, Vincent (Taft) NYC, h
Lunceford, Jimmie St.
Opng. 2/22, ne
(Riviera) Louis,
M
Martin, Freddy (Ambassador) Los Angeles,
Farms) Cincin-
(Stevens) Chicago,
Masters, Frankie (Castle
nati, Clsng. 2/14, b;
Opneg. h
McCoy, Clyde (Bill Green’s Casino) Pitts-
burgh, Opng. 2/15, ne
McIntyre, Hal (Commodore) NYC, Clsng.
2/20, h
ley, Ray (Commodore) NYC, Opng.
Millinder, Lucky (Savoy) NYC, b
Molina, Carlos (Florentine Gardens) Holly-
wood, Cal., ne
eet Vaughn (Palace) Columbus, O.,
2 ey t; (Oriental) Chicago, Opng.
2/21,
Mooney, oo (Lincoln) NYC, Cisng. 2/14,
h
Morrow, Buddy (Chase) St. Louis,
2/14, h; (Roseland) NYC, Opng.
oO
(Lee-N-Eddie’s)
Cisng.
2/19, b
Olsen, Detroit,
Cisng.
George
2/14, ne
P
Pablo, Don (Palm Beach) Detroit, ne
Pastor, Tony (Tune-Town) St. Louis, 2/19-
2
(Roseland) NYC, Clisng.
Paxton, George
2/17,
Pearl, Ray (Melody Mill) N. Riverside, IIl.,
b
Petti, Emile (Versailles) NYC, nce
Prima, Louis (400) NYC, r
R
Reid, Don (Roosevelt) New Orleans, h
Reisman, Leo (Waldorf-Astoria) NYC, h
Reynolds, Tommy (Band Box) Chicago, ne
Rich, Buddy (RKO) Boston, Clsng. 2/13,
t: (State) Hartford, Conn., 2/15-17, t
Robbins, Ray (Peabody) Memphis, h
— Warney (Washington) Indianapolis,
Ss
Saunders, Red (Garrick) Chicago, ne
Savitt, Jan (Casino Gardens) Ocean Park,
Cal.,
Sherock, Shorty
N. Y., h
(New Kenmore) Albany,
Stone, Eddie (Syracuse) Syracuse, N. Y., h
Straeter, Ted (Plaza) NYC, h
Strong, Benny (Bismarck) Chicago, h
Stuart, Nick (Club Moderne) Long Beach,
Cal., ne
Sykes, Curt (Trianon) Seattle, b
T
Teagarden, Jack (Sherman) + aed h
Tucker, Orrin (Strand) NYC,
Tucker, Tommy (New Yorker) ‘nye, h
Vv
Van,
Garwood (Statler) Boston, he
Key Spot Bands |
AMBASSADOR HOTEL, Los An.
geles—Freddy Martin
BLACKHAWK, Chicago—Chuck
Foster
CASINO GARDENS, Ocean Park,
Cal.—Jan Savitt
COMMODORE HOTEL, New
York—Hal McIntyre; Feb. 21,
Ray McKinley
EL GROTTO, Chicago — Earl
Hines
400 RESTAURANT, New York
—Louis Prima
LINCOLN HOTEL, New York
—Art Mooney; Feb. 15, Er-
skine Hawkins
MEADOWBROOK, Cedar Grove,
N. J.—Stan Kenton
NEW YORKER HOTEL,
York—Tommy Tucker
PALLADIUM, Hollywood, Cal.—
Bob Crosby
PENNSYLVANIA HOTEL, New
York—Les Brown
ROOSEVELT HOTEL,
York—Guy Lombardo
ROSELAND, New York—George
ie Feb. 19, Buddy Mor-
SAVOY, New York—Lucky
New
New
inder
SHERMAN HOTEL, Chicago—
Jack Teagarden
STEVENS HOTEL, Chicago —
Ted Weems; Feb. 22, Frankie
Masters
TERRACE ROOM, Newark, N. J.
—Glen Gray; Feb. 19, Tommy
Dorsey
TRIANON, Southgate, Cal. — Al
Donahue
ZANZIBAR,
Williams
New York — Cootie
Vaughn, Buddy (Plamor) Cheyenne, Wyo.
Victor, Charles (Continental) Chicago, h
w
Waples, Buddy (Ansley) Atlanta,
Weems, Ted (Stevens) Chicago,
Ga., h
2/21, h
Welk, Lawrence
Cal., b
Wiggins, Eddie (Brass Rail) Chicago, ne
Williams, Cootie (Zanzibar) NYC, ne
(Aragon)
Clsng,
Ocean Park,
“ye Sfuvediom
long life performance.
1650 Broadway
PATENTEO U.S.A, c tips
Medium
TEN DIFFERENT NUMBERS
OF STRENGTH
Saxophonists and clarinetists get pleasure in using VIBRA-
TORS. These reeds can’t be beat in tonal brilliancy and
Ask Your Dealer
H. CHIRON CO.,
INC.
New York City, N. Y.
2050 NORTH THIRD STREET
IN
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THE CHOICE OF
ARTIST AND AMATEUR
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Re
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hot cak
cakes.
om
boxes, M
music it
enecrous
mer sae
and Mutt
Custon
rativel:
media
when the
tour ine
Strand h
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tation W
a string:
harmoni
into a cc
be descr:
The sty
you cal
Glenn M
the voc
Dorsey |
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This i
Every |
others, e
stages.
case is |
not wild
the tim!
soporific
At wri'
included
Olson, |
Welch,
Glenn Li
Les Coo)
delsohn,
Auer, pi
Ernie He
Gates, b:
Morgan,
Four Br
Gene Ar
The bi
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fire to 1
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Cal.—
4 New
New
George
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ry Mil-
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Tommy
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a
i cagk Pilon 11, 00Ub NEWS—FEATURES DOWN BEAT 2
! * i] ° TD’s Melody in F and (if they have Kenton Makes Chan e
O'Stokowski O Swing |[BLUE NoTEs|| 2253752 228"57| as Bond Moves Eee
lant. Despite this bad luck
7; Mooney has been getting his
music into plenty of ears. The
enerous supply of air time at the
ry with outlets over CBS, NBC
and Mutual, is responsible.
Customer reaction to this com-
atively new band will get a more
soiiine test starting Feb. 15
when the unit goes out for a theater
tour including a i at
Strand here beginning on Washing-
ton’s birthday.
After considerable experimen-
tation with his band (including
a string-section or capsule Phil-
harmonic phase) Art has settled
into a composite style that might
be described ascommercial jump.
The style is composite in that
you can detect influences of
Glenn Miller (clarinets over) and
the vocal trickery of Tommy
Dorsey and Johnny Long (I’ve
Been Workin’ On the Railroad.)
Hits Nice Blend
This isn’t meant as criticism.
Every band is influenced by
others, especially in its formative
stages. The result in Mooney’s
case is a pretty pleasant blend,
not wild enough to chase away
the timid souls and yet not so
soporific as to induce snoring.
At writing the band’s personnel
included Joe De Paul, Marty
Olson, Jimmy Ginolfi, Jimmy
Welch, trumpets; Dick Wise,
Glenn Long, Al Chait, trombones;
Les Cooper, Ed Olsen, Art Men-
delsohn, Russ Currie, reeds; Art
Auer, piano; Hy White, guitar;
Ernie Heidenreich, drums; Rusty
Gates, bass. Vocalists were Janie
Morgan, Johnny Darcy and the
Four Brothers—Ed, Joe, Vic and
Gene Amori.
Made New Masters
The boys rushed into a record-
ing session after the Vogue plant
eee)
Lune and Workin’ on the R. R.
As a fourth side, Moon Mist re-
ooney has been giving Con-
/ Sensational |
at Last! NEW
INSTRUCTION BOOK
PLAY POPULAR SONGS
Reveals Professional
PIANO SECRETS!
How Many Times have you tried to play a
ular song, exactly as written, only to find
ked the Fill-In the demonstrator em-
ployed? He filled in—You didn’t! Not your
ERS—“NeverBefore
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Styles, 400 Sisahng Breaks, 1 Professional iaaree
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ANBAR OR COR:
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with surprising skill... at amazing
BACK GUARANTEE—On receipt of book,
he judge. If you’re not delighted with
instruction this book brings after 4
al, retarnit .
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Y!1 This NEW EDITION was created
ORDER Toba
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ured anywhere in the world.
CAVANAUGH PIANO SCHOOLS
475 Fifth Ave., Dept. X, New York 17,N.Y.
Records ‘Hot’ Cakes
New York—Whether or not Art Mooney’s records sell like
hot cakes, his first batch of Vogue platters certainly were hot
cakes. They were destroyed in the recent fire at the phono
delaying his entry into juke
fire to replace the lost masters |
of Warsaw Concerto, Clair de}
meced Might as Well Be Spring. |
certo and Railroad plenty of net-
workouts.
Mooney was on his way as a
maestro before his. three-year
hitch in the army. He was born
in Lowell, Mass., and migrated
with his family to Detroit as a
youngster. His father, a detec-
tive, frowned on a musical career,
but Art got encouragement from
his mother who played accordion
and piano herself. He studied
violin and sax and started lead-
ing a band of high school chums
at 17. He had moved into fairly
big time playing such spots as
Detroit’s Eastwood Gardens and
Philly’s Benjamin Franklin when
Uncle Sam tapped him on the
shoulder.
Led Military Band
As a Tech Sergeant at the
Miami Beach Air Corps Training
Center he continued in music,
leading a 150-piece military band
for a couple of years.
He’s billed variously as the
“Genial Irish Gentleman” and
“The Stokowski of Swing.” In
view of the former, the latter
should be at least “The O’ Sto-
kowski ’o Swing, Bedad.”
—rod
Down Beat covers the music
news from coast to coast.
By ROD REED
(Jumped from Page One)
The ya-ta-ta ya-ta-ta about
Singing the classics is in full
bloom again. Arguments on this
subject seem to be a favorite
pastime between wars.
Olin Downes, in a recent broad-
cast, said he wasn’t worried
about the “adaptation” of Chopin,
Tschaikowsky & Co. to modern
dance usage. He argued that
this is one way to introduce these
composers to an otherwise ignor-
ant segment of | se and
said he “trusted in the good
judgment of the public, after
hearing the pop versions, to de-
mand the melodies in their
classical form.”
There are many serious thinkers
in this candy-coating department.
They say, “if the kid won’t take his
Evitaxal (spell that backwards),
then cover it with chocolate and
tell him it’s a bon bon.”
In an ——— camp are the
long-underwear boys who won’t
even doff their*red flannels in
Florida in July. Most of ’em don’t
like pop music under any cir-
cumstances, but it’s when they
hear traces of a classic in a
dance ditty that they really chew
rugs.
These are a couple of sides to
the hassel, but there’s a third group
siding with neither of the above
two. You don’t hear their voices
raised in debate because they are
too busy listening to the adapted
classics and enjoying the ones that
turn out well in the pop medium.
They find beauty in Woody Her-
man’s version of Till the End of
Time, they enjoy the mild jump of
GARRICK BUILDING
64 West Randolph Street
Chicago, Illinois
MAURY BERS
(World War Il Veteran)
Office Manager
THEATRICAL TAX SERVICE
“A Specialized Tax Service
for the
Entertainment World”
NATION WIDE SERVICE
Bookkeeping Systems, Statements,
Taxes, Reports and Records
Tel. No.
FRANKLIN
2907
INQUIRIES
INVITED
t
SY)
o
~ }
\"
Now, happily,
\ ~~
t+Names you know...
. +» and names that have meant musical
quality for years gone, and years to come,
are sold exclusively by Fischer. The famous
names of York,
instruments, typify the tradition of known
quality on which Fischer is founded.
these famous musical names are again be-
coming available in limited quantity — still
further improved in quality — still more
desirable for you.
CARL FISUILE
NEW
een SM... Ys
Blessing, in the field of
an increasing number of
im)
Jones’ idea of Rach-
maninoff’s Prelude.
And they don’t have to get into
the debate—they’ve already won
it. No matter how much the
purists howl, tampering with the
classics will continue as long as
the public will buy. And if a
tune tickles the people they don’t
care whether it was made up,
adapted, stolen or dipped out of
Mrs. Murphy’s Chowder.
* * *
Veal Couplet
I feel so gay
In a melancholy way.
A striking picture of the grand
canyon that sometimes separates
professional critics from Jackson
Public was exhibited on one
of Al Courtney’s recent Record
Carnivals. After listening to a
disc involving Guy Lombardo
Art Waner, Leon, Eddy
Steady Gets Band Itch
New York—Art Waner, versa-
tile pianist featured at Leon &
Eddie’s for some seven years, has
got the itch. Waner is rounding
up musicians to form his own
band, figuring to front 14 pieces.
Negotiations are under way for
Waner’s new band, personnel of
which hasn’t been announced, to
wax for a new firm—Ace Plastic
Record Co. Outfit is to place on
market an unbreakable plastic
record in the pop music field at
popular prices, first discs sched-
uled for delivery about March 1.
er
New York—New faces in the
Stan Kenton band when it opened
|at the Meadowbrook February 5
|include Jimmy Selton, filling in
until a permanent replacement
is found for drummer Ralph Col-
lier, Kai Winding and Ken
Hanna. Winding left Benny
Goodman to replace trombonist
Freddy Zito and Hanna, trum-
peter-arranger, replaced Bobby
Lymperes. Ray Klein came in for
Jimmy Simms, trombonist fea-
tured with Kenton on his last
eastern trek.
and the Andrews Sisters, the ex-
perts gave it a grade of one star
and commented “perfect example
of no talent.” So the spokesman
for the amateur, teen-age judges
(selected from the audience)
said, “We grade it four stars.”
“One” is the lowest mark pos-
sible in these sessions, “four” is
the highest.
* * a
*UMBLE OPINIONS—One of the
funniest air-bits of the season:
Fred Allen proving that Beethoven
stole his Vth Symph from Chickery
Chick. . . . Haunting blues strain:
the release of My Guy’s Come
Back. . . . Jook-of-the-month: Ken-
ton’s Artistry Jumps. . . . Fine
fiddle-faddle: Eddie South’s stuff
even when he’s doodling behind a
cowboy crooner. ... Great music—
to look at: Georg Brunis at Con-
don’s lying on his back with a man
standing on his chest and playing
trombone, sliding it with his foot.
(Technical description: foot notes
with a shoe horn.)
SOLOS BY THE KINGS OF THE CLARINET
@PAA Ihe Woony HERMAN series / 3
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Each 60¢ including piano accompaniment
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Contains solos by Bigard, D'Amico, DeFranco, Fazola,
Goodman, Hall, Herman, Marsala, Matlock, Miller,
Noone, Russell, and Shaw
(H) BENNY GOODMAN PLAYS THE CLASSICS
Contains: Enesco’s Roumanian Rhapsody, Brahms’ Sonata
in B. Flat, Tschaikowsky's Nutcracker Suite, Mendels-
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Clarinet, Gliere’s Dance of the Russian Sailor, and
Grieg’s Little Bird
th
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Contains: After You've Gone, Why Don't You Do Right,
y rt, Wolverine Blues, Milen-
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TIMES SQUARE MUSIC COMPANY
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Enclosed find ............ for which please send clarinet solos and folios checked:
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INI sic insiacbaschcepcedain ensitbcagsbonvincesinilthesdindsasecccothctiiselieitiets chekdssisniasis
Address 3
rere iir itt irri)
a ee
oe
- 24, if not before. Clarinetist Bus-
22 DOWN BEAT
SARJ-—NEWS
Chicago, February 11, 19 6
| and stole all of his instruments.
Majority of sidemen in Auld’s
band, getting set with other
bands for the present, have ex-
Georgie Auld |
Rests In Ariz. | presse siti sri whee
New York—Georgie Auld, ex- | Musicraft, which has purchased
hausted as a result of the stren-| all the Guild labels, will reissue
uous working conditions he has| the Auld sides on the Musicraft
contended with during the past/ label and release those recently
months, topped by recent book-| cut for Musicraft at regular in-
ing worries, has been ordered by| tervals, as one step towards
his physician to take an eight/ keeping his name in circulation
to ten weeks rest. He left for} during the interim.
Arizona late last month to regain | When Auld reorganizes, it is
his health. likely he will sever affiliations
To make matters worse, a thief | with Frederick Bros. to book out
recently broke into a parked car, of another major agency.
owned by a friend of Georgie’s,
Les Brown Adds
John Kirby In :
Boston's Copley Male Vocalis a
New York—John Kirby, who! added Jack Haskell to his vocal
had personnel setbacks for many| department, the first regular
months, is reestablishing himself male vocalist employed by him in
again in the east as the Kirby more than a year. Haskell, who
band of former times. Pianist| once sang over WGN Chicago,
Billy Kyle, recently discharged| has been in the navy the past
from the navy, will rejoin the| few years and is considered by
band when it opens at the Cop-/ Brown to be a real vocal find.
ley Terrace in Boston February | poris Day is planning to leave
the band in the near future, but
the exact date of her departure
and future plans are indefinite
at this writing.
Brown, booked into the Terrace
Room in Newark for February
26, will open March 5, instead,
with Casa Loma holding over an
|extra week and Tommy Dorsey
|opening February 19 for two
weeks.
ter Bailey, another original mem-
ber, rejoined several weeks ago.
Kirby will be at the Copley
Terrace for two weeks and play
other eastern dates before head-
ing- for Hollywood to play either
Ciro’s or Billy Berg’s.
—M. GRUPP—
d-renowned teacher
BRASS INSTRUMENTS
Specialist in teaching “Natural Wind-
or Playing” and in eliminating
New Kaycee Office
Kansas City—A new booking
laying difficulties and complexes office, the Orchestra Manage-
TOMMY DORSEY: -: jai mr. |) ment Co., has established offices
as the outstanding teacher.” in the Shankman bldg. here
HARRY JAMES: «15, my opinion, || Under the direction of partners
Mr. Grupp is without equal as a teacher.” Johnny Coon, Kenny White and
JIMMY DORSEY? «Grup psychol- Parke Wattson.
ogy on wind-teaching is the most logical.” TRUMPET PLAYERS
OUT-OF-TOWNERS!
25 Swing Choruses. If you wish to acquire a proper
Information on “‘out-of-towners course”
mailed. invaluable to wind-players. knowledge of the why and wherefore of swing play-
ing and the easiest way it can be put to ac rtual use
Only Book of Its Kind!
— — Pie” ay gg ee improve your swing style. Easy to 52:00 complete.
nstrumen ay y . . licks, te. Individuality. Price 00 complete
ampecne* Constructive to Professionals a o CHORD CHART INCLUDED. C.0.D.’s 25¢ in
nd Students, $3.75 osu
WANT TO TEACH? LEO FANTEL
Information on “how to adopt the M. EAD aed
Grupp system of instruction and teach it
in your vicinity” —
oer Music Stu
17 7th Ave., N. Y. C.
2170 Creston Ave.,
» New York 53, N. Y.
ROBERT WHITFORD
BREAK SHEETS FOR PIANO
Revealing the greatest jazz patterns yet. Send
25c for sample copy.
PIANISTS
Send for your free copy of our catalog of
EQUIP YOUR ORCHESTRA with | | S32" Stet eu &
MANUS A-JUST-ABLE COVERS ROBERT WHITFORD PUBLICATIONS
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ALFRED MUSIC CO., 145 W. 45th St., N.Y.
PIANO TRICKS!
Axel Christensen’s bi-monthly Break
Studies contain original and novel
GEORGE GERSHWIN,
Memorial Volume
By Merle Armitage and others. 252 pp.
Cloth. $5.00 postfree.
N. A. KOVACH
712 South Hoover St., Los Angeles 5, Calif.
Breaks, Bass Figures, ey
and tricky embellishments suitable for || TEACHERS! 7
8 songs on the current hit parade. ARRANGERS! HERE’S
INVALUABLE TO PIANISTS,|, SONGwriTERs! HOW!!
TEACHERS AND STUDENTS!
[rare wa Riad TH_SRCHRTRC 3 Create Your Own
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343 So. Dearborn St. Chicago 4, IIL
ARAYN E Rs
2054 W. LAKE ST., CHICAGO
- | tions. Frank Saatre,
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21 Kimball Hall Bidg., Chicago 4, Ill. Parts. and eatin.
tions. This knowledge
and more is worth
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| Buddies In War And In Peace
England—When the war was at its height, muscle-man McPartland
was right there jetting hot lead out of his gun at the Germans. Re-
cently raised to the rank of captain, Chicago’s James Dugald McPart-
land, leader of the historic Austin High gang has been transferred to
USO and has been barn-storming the British Isles and the continent,
carrying the spirit of Bix in his heart.
The captain and his lovely
English wife, seen above, have been buddies on the tour with the
Mrs. playing piano for the outfit.
with Chicago their first stop.
They'll be a team in civilian life
With Cpl. John Suter high-
lighting the program with an in-
strumental interlude of originals,
We Fight and By Candlelight,
Moss Clix With Show Biz
You name ‘em brother. | do their photo reproduc-
Andrew Sisters, ~‘id others.
They like my act. Catch me sometim
ntti Produced on Same High _Guality
as hag arin Photograp'
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Postcards 2c, in quantities
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RHUMBA TRAPS
Maracas—$1.50 pair Guiro—$2.50 each
Claves—$1.00 pair Bongos—$10.00 pair
Quihada (jawbone) —$7.50 ea.
Congas—$15.00 ea.
Complete Equipment for Drummers
FRANK’S DRUM SHOP
226 S. Wabash © Chicago 4, Ill.
NEED NEW
GAGS?
Order Don Frankel’s enter-
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original parodies, band nov-
1 also write material for in-
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Frankel, 1508D S. Homan
Ave., Chicago 23.
FAMOUS MAKE
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WRITE FOR FREE INFORMATION
FEDERAL ACCORDION CO.
475 FIFTH AVE. NEW YORK
|downs on the accordian;
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SONGWRITERS
MUSIC—PRINTED—$10.00
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PIANO ARRANGEMENTS
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MUSICIANS’ HANDBOOK
STANDARD
DANCE MUSIC GUIDE
A Classified and Alphabetical List of the Best and
Most Popular Standard Foxtrots, Waltzes Show
Tunes, Rumbas, etc’ (36 Headings. over 2000
Titles, with Original Keys & Starting Notes.) Plus,
A Handy Fake List & Song Reminder of Top Tunes
Covers the Whole Field of Popular Music «i
SEND FOR YOUR 50.
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> (5 Copies for $2.00)
RAY DE VITA
written by Harris Krawitz, the
boys on Mindoro recently turned
out a very successful concert
broadcasted over WVTJ. Concert
was dedicated to the 96th Infan-
try. Suter scribbled the lyrics
for Candlelight.
Blazing a musical trail of good-
will across the Pacific, the Armor-
diers of the Fourth Armored Group
featured the talents of Ray DeSilva,
formerly with Jimmy Grosse; Al
Markham, recently of the Del
Courtney aggregation; and Frank
Lorence, who fingered the bass fid- |
dle for Stan Kenton. We haven't
heard if the above men are still do-
ing the Pacific or shopping for
white shirts.
Old Heidelberg is no longer
hearing the Drink Song. It’s One
O’clock Jump and_6stuff-like-
that-there the army’s Special
Service combo, The Franc Notes
are dishing out to the stein lift-
ers. Pfc. Art Keeny (formerly
with Mary Marshall) handles
drums and vocals; Cpl. Tony Ca-
rozza (Curly Venezie) ups and
and
PETER A.
LUISETTI
Strand Theater ba
1585 Broadway ~My
304
Y. C.. Sul yy
Phone: Columbus 5-9866
INSTRUCTION IN
oaxaphone
Clarinet
‘MPROVE YOUR PLAYING
Pianists—Send for free booklet |
| showing how you may greatly
improve your technic, accuracy, memorizing,
sight-reading and playing thru Mental- Mus-
cular Coordination. Quick results. Practice
effort minimized. Used by famous pianists,
teachers and students. No obligation.
Broadwell Studios, Dept. 86-B, Covina, Calif.
30,000 Hard to Get Records
Give title, artist and price you will
pay with order.
NO LISTS!
BROADWAY MUSIC CO.
155 W. BROADWAY
SALEM, NEW JERSEY
Walter ‘‘Foots’’ Thomas
Teacher of Saxophone
y with ab ailoway
tions for Improvi
3 Lid Playing
Correspondence Courses
in Improvisation
Now Available
Barnet—ABC Feud
Over Tune Types
Hollywood—Indication that the
networks, at least ABC, might
crack down on the type tunes
played by dance bands on net-
work and local sustaining broad.
casts was seen in the recent
Charlie Barnet-ABC incident
concerning broadcasts at the
Casino Gardens in Santa Moni-
ca. The Web pulled its network
line from the spot when Barnet
refused to play more current pop
tunes, as was demanded by the
music clearance department of
ABC in New York.
Local remotes were saved when
Barnet agreed to change the
selection of his tunes, but he
stood pat on what he thought
should be aired to the east.
Network’s stand was that
against a band playing too many
tunes closely identified with that
band. They demanded that cur-
rent popular numbers be inserted,
that not over a couple of band
specials be included in any one
broadcast. Network also felt that
Barnet, as has been the case of
several other bands, was plug-
ging too heavily numbers being
published by the leader’s pub-
lishing firm.
Witte carry-on with trumpet and
guitar respectively.
The torrid jam session staged by
Snub Mosely and crew on Mindoro
during their current USO tour has
swamped the Beat office with letters
of appreciation from the 96th In.
fantry, ““Deadeye” division.
Captain John Bitter, former
conductor of the Miami sym-
phony orchestra gained the dis-
tinction of being the first Amer-
ican to lead the famous Berlin
Philharmonic over AFN-Berlin
It was also the first time that the
German orchestra, before the
war considered on a par with
such outstanding orchestras as
the London Philharmonic and
the New York Philharmonic, had
appeared before an American
microphone. One of the selec-
tions that was played under Cap-
tain Bitter’s baton was Samuel
Barber’s Adagio For Strings.
Barber is a corporal in the U. 8.
army, and composed this classic
in 1938.
Under their pre-combat title,
Melody Makers, the members of
the volunteer dance band enter-
tained 97th Infantry Division audi-
ences from Camp Swift, Texas to
LaHavre, France. The combination
was broken up during the 97th In-
fantry’s combat in Europe, but have
now regrouped in Service Com
pany of the 387th Regiment.
Led by S/Sgt. Jack T. McCart-
|ney, who once played the drums
for both Henry King and George
Olsen, the Melody Makers line-
up is as follows: T/3 Charles
Weber, formerly with Bunny
Berrigan, sax; S/Sgt. Raymond
Glauson, ex-Jan Savitt man,
guitar; Pfc. Donald R. Jones,
| piano; Cpl. Tom Harkness, sax;
|Cpl. Ben Fox, sax; Pfc. Ashley
Buguslaw and Pfc. W. Z. Tau-
benson, recently with Carl Ra-
vazza, on brass. Several others
complete the outfit.
WANTED
A-1 REPAIRMAN
ON REED INSTRUMENTS
IVAN C. KAY
112 John R_ Detroit 26, Mich.
Used Band Instruments
All Makes
Any Condition
Sousaphones, _ Baritones, Alto
Saxophones, Tenor Saxophones,
French Horns, Tympani, etc.
LOCKIE
MUSIC EXCHANGE
1521 N. Vine St. @ Hollywood, Calif.
950 So. Broadway @ Los Angeles
cf
wilb
Launi
Hollyw
and sev
was form
Flight se
new out:
case” dat
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Coker, ©
Willie §&
Marvin ©
son, Gen
Mingus,
guitar;
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arranger
plied vo
incident
date.
Japs
Shar
Chicag
her all-;
troupe ('
erable ci
seas) al
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All a
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ACCORDIC
Excelsior
latest moc
Must sell.
delivery. (
Trace, Buffa
HOT PLA
strong, |
Smith, Ne
Send want
Banks Stre
WFL W
snare dr
Best offer
rum & co
St., Philad
ORCHEST!
(used) c
trousers—$
reast, sin
Wallace, 2 24
FOR SALI
bones, 1
horns, tub
{no tenors
Rockwell §
—_—_——.- -—_—
———_._.
TRUMPET
off road
age 28. Be
ee
EXPERIE}
ou pay
Woodbridg
GIRLS— —pl
© expel
for future
1917-73 s
COPYIST.
> ar
Trav
Ventura, 3
DRUMME!
experien:
ervis, Boo
VIOLINIS
available
combinatio
fago 1,
eS
that the
, might
e tunes
on net-
broad.
recent
cident
at the
2 Moni-
network
Barnet
‘ent pop
by the
nent of
2d when
ist.
is that
0 Many
ith that
lat cur-
nserted,
of band
any one
felt that
case of
lug-
rs being
"Ss pub-
ipet and
taged by
Mindoro
tour has
th letters
96th In-
former
1i sym-
the dis-
t Amer-
s Berlin
V-Berlin
that the
ore the
ar with
stras as
nic and
nic, had
merican
e selec-
ler Cap-
Samuel
: classic
at title,
nbers of
d_ enter-
ion audi-
Texas to
ibination
97th In-
but have
ce Com
nt.
McCart-
e drums
| George
‘rs line-
Charles
Bunny
aymond
t man,
Jones,
2SS, Sax;
. Ashley
Z. Tau-
‘arl Ra-
1 others
———
Se
D
|AN
ENTS
AY
Mich.
SS
Alto
hones,
» etc
yE
|, Calif.
Angeles
Chicago, February 11, 1946
CLASSIFIED
ADS—NEWS
DOWN BEAT
23
Wilbert Baranco
Launches Star Unit
Hollywood — Wilbert Baranco
and several members of what
was formerly the St. Mary’s Pre-
Flight service band, launched a
new outfit here with a “show-
case” date for Black & White rec-
ords with one of the most im-
pressive all-star lineups ever put
on the same label. Sidemen con-
tributed their services at scale
in order to give the ex-GI’s a
good start in civilian competi-
Virtually every man in the
group had held spot with top-
name sepian outfits. The line-up
had: Howard McGhee, Snookie
Young, Karl George Dizzy Gil-
lespie, trumpets; Ralph Bledsoe,
George Washington, Henry
Coker, Vic Dickenson, trams;
Willie Smith, Freddie Simon,
Marvin Johnson, Lucky Thom-
son, Gene Porter, saxes; Charlie
Mingus, bass; Buddy Harper,
tar; Earl Watkins, drums.
ranco played piano, did the
arrangements, directed and sup-
lied vocal on one side. Dizzy,
hneidentally, took no solos on the
Japs Rescue
Sharon Rogers
Chicago—Sharon Rogers and
her all-girl orchestra and USO
troupe (which has drawn consid-
erable comment from GI’s over-
seas) almost didn’t leave Japan
—but not because the soldiers
wouldn’t let them.
As it happened, Sharon and
her troupe had already taken off
for Yohohama to board an
American-bound ship when their
|
WHERE IS
RABBIT BRYANT, former drummer
with Mickey Given’s band
ROBERT B. BURGERT, air corps pri-
vate and former Philly guitarist
MEL WECKLER, formerly with Vic
Schoen
JACK BAKER, vocalist, recently out of
service
ANNETTE LE BRUN, formerly with
former disc-jockey at
WFPG, Atlantic City
WE FOUND
Sunetes BECKER, Club Casino, New-
port ws, Va.
EDDIE YANCE, Box 658, Dillonvale,
Ohio
CPL. BENNY G. STABLER, c/o Gen-
eral Delivery, Fairfax, Calif.
transport plane developed trou-
ble and crashed into the ocean.
Japanese fishermen played hero
roles to rescue the entire troupe.
Most of the girls were bruised,
and one—drummer Greta Jean
Bogan of Chicago—suffered a leg
fracture.
Miss Rogers, a pretty Chicago
girl (her picture was on page
one of Down Beat last issue) had
just finished, and quite success-
fully, a six month USO tour of
the Pacific area.
Send Birthday
Greetings to:
Feb. 17—Charlie Spivak, Buddy
DeFranco
Feb. 18—Walter Johnson
Feb. 19—Stan Kenton, Frank
Howard
Feb. 20—Happy Ruggles
Feb. 21—Gene Hammett
Feb. 22—Rex Stewart
Feb. 23—Eileen Slade
Feb. 26—Chauncey Houghton,
Jerry Salome, Gene
Williams
28—Lee Castle
CLASSIFIED
‘Fifteen Gente per Word—Minimum 10 Words
a tower
CENSORSHIP
All advertising copy must pass the rigid censorship which has
constantly protected Down Beat readers against the unworthy.
FOR SALE
FOR IMMEDIATE SALE—one 26-inch
bass drum, 3 tom toms and one snare, all
Leady Black Pearl. Good condition. In-
quire Ralph Tilkin, c/o Hal McIntyre
Orchestra, Hotel Commodore, NYC,
ACCORDION—NEW: Imported 80 bass,
Excelsior-type, 5 treble registers, 2 bass,
latest model, streamlined. Cost $1500.
Must sell. Sacrifice for $675.00. Insured
delivery. G. Delmar, 26 Pine Ridge Ter-
tace, Buffalo, N. Y. TA. 7996.
HOT PLATES FOR SALE—many Arm-
strong, Bix, Henderson, Nichols, Bessie
ith, New Orleans & Chicago bands.
Send want list to George Hoefer, 2 East
Banks Street, Chicago 10, IIL.
WFL WHITE PEARL—Chrome plates
snare drum. Perfect condition, 14 x 7%.
offer over $50.00. Also 14 x 26 bass
drum & cover. H. Pigott, 3033 N. Marshall
St., Philadelphia.
PLuESTRA COATS—white, doublebreast
) cleaned, pressed—$3.00. Tuxedo
ire —Se 00. aders coats, double-
breast, single. Tuxedo suits. Free lists.
Wallace, 2416 N. Halsted, Chicago.
FOR SALE: CORNETS, trumpets, trom-
nes, mellophones, baritones, French
horns, tubas, clarinets, flutes, saxophones
{no tenors) etc. Write for bargain list
and specify instrument in which you are
interested. Nappe Music House, 6531
Rockwell St., Chicago 45, IIl.
AT LIBERTY
LEAD TRUMPET—12 years experience,
ne tone, good register, cut anything.
Also arrange. Desire connection with or-
ganized hotel band. Box A-301, Down
Beat, Chicago 1
DRUMMER—4desires location with small
unit in or near Milwaukee. eat ap-
pearing. Write Box 302, Down Beat, Chi-
cago 1
HELP WANTED
WANTED COLORED MUSICIANS—Fifty
to seventy dollars a week, Box A-299,
Down Beat, Chicago 1.
S—TRUMPETS: For 6 Brass
lso Tenor Sax. Must be good.
Write, wire Box 2214, Waterloo,
TROMBONE
Section.
State all.
Towa.
AMATEUR LYRICIST of popular music
wants collaborator. Prefer one who can
write music. Preferably composer within
commuting distance of New York City.
Virgil Quattrocchi, 180 Osborne Street,
Danbury, Conn,
GIRL MUSICIANS—Adding to top
swing band. Need trumpet,
sax. Minimum $70 week.
Brown, 1557 So. University,
Colorado.
girl
trombone,
Write Del
Denver 10,
WANTED—ATTRACTIVE GIRL bass vio-
linist for cocktail combo. Read or fake,
union, Must have formals. Good oppor-
tunity for right girl. State age, salary.
Send photo. Wire Box A-303, Down Beat,
Chicago 1.
IS THERE A YOUNG CHICAGO pianist
with legitimate background and jazz in-
spiration for small band? Phone VAN
BUREN 3794.
TRUMPET—lead or go, experienced. Wants
off road—location preferred. Married,
age 28. Box A-298, Down Beat, Chicago 1.
EXPERIENCED PIANIST—Age 28, union,
You pay transportation to job. Box 399,
Woodbridge, N. J
GIRLS—play sax’s, clarinets & trombone.
© experience, willing to play in a band
4 future dates. Play well. Esther Cucci,
-73 St., Brooklyn, N.
COPYIST — BAND BOY — VIOLINIST:
me arranging, experienced. 802 mem-
ber. Travel if necessary. Sam Di Bona-
ventura, 349 E. 17th St., N. ¥. 3, N. Y.
DRUMMER—18, draft exempt, union, good
experience in dance work, nice set. Gene
Jervis, Box 387, Ebensburgh, Pa.
VIOLINIST DOUBLING TRUMPET—
available soon. Tenor band or small
Deen ination. Box A-300, Down Beat, Chi-
GIRL SAXOPHONIST—for girl’s traveling
band. Must play jazz, fake all evening.
Call or write Mgr. J. Etta, 76 Bay 19th
St.. Bklyn., N. Y¥. BEnsonhurst 6-7472.
DANCE MUSICIANS—Permanent
$50.00 to $75 weekly.
tions. Jimmy Barnett,
akota,
jobs,
State qualifica-
Sioux Falls, S.
MISCELLANEOUS
MEN—WOMEN: $150 starts you in your
own business! Successful Magic Wand
Toy Product. Y.C. and vicinity terri-
tories filled. Sample 35c. ‘antel,
2170 Creston Ave., N.Y¥.C. (53).
NEW ENGLAND GUITARISTS! Moderr
instruction, practical harmony, legiti-
mate technique, former New England Con-
servatory teacher—PHIL COOPER Studio,
Conn’s, 229 Stuart St., Boston,
HUBbard 6688,
CLASSIFIED RATE CHANGE
EFFECTIVE JANUARY 1,
1946, THE CLASSIFIED
RATE IS 15¢ PER WORD AND 25c FOR BOX NUMBER
WHEN USED.
SAXOPHONES WANTED—Altos and ten-
ors, new or used. State make and con-
dition, as well as your price. The Fred
ae Co., 60 Broadway, Brooklyn
HAWAIIAN Guitar Method for Musicians
$1.50, ula Folio 50c—300 orchestra-
tions for teachers. List on request. Golden
Gate Publications, 5464 Foothill Blvd.,
Oakland 1, Calif.
LEARN PIANO TUNING AT HOME:
Course by Dr. Wm. Braid White. Write
Karl Bartenbach, 1001 Wells Street, La-
fayette, Indiana,
YOUR SONG PROFESSIONALLY RE-
CORDED on a standard 10-inch disc
with piano and vocalist. Price complete
$18.00. Additional records $5.00 each. One
note melody is all that’s required. Work
guaranteed. Anton’s Studio, 1314 Jeffer-
son Ave., Buffalo 8, , i
EX-SERVICEMEN: Your dog-tags are ex-
cellent souvenirs of service. Have them
gold-plated for use on key chain, etc. $1.00
each, $1.75 for two. ISLAND PLATING
SERVICE, Dept. D., 212 Fisher Ave.,
Staten Island 7 ee
TENOR, ALTO SAXES wanted for stu-
dents. Mention make, serial number,
price. Lewis Arfine, 117 W. 48th St.,
New York 19, N. Y.
PHONOGRAPH RECORDS
RARE RECORDS: Goodman, Herman,
Krupa, Bradley, Shaw, Miller, Dorsey,
Bob Crosby, Berigan, complete James col-
lection, Boogie Woogie, many _ others.
Write to Dennis Carter, 6923 Calhoun,
Dearborn, Michigan,
SALE! OUT OF PRINT RECORDS: Blues
Jazz, Swing, Popular, ete. cvery rec-
ord priced and graded. Send for my month-
iA list. James Kirkendall, 1117 Stanton
. Port Huron, Michigan.
AUCTION—Rare Records. Bobby Ralston,
38 Russell St., Hartford 5, Conn.
WANTED—Several Lunceford’s “
I'm Alone
With You.” Columbia 35484. H. B. Geary, |
1430 Indiana St., Zanesville, Ohio.
— pore RECORDS—THE FINEST
JAZZ, Boogie Woogie, Blues,
Dixieland,
mater a *- Improvisations,
All Star Swing Combos, Piano Solos, Vo-
cal Blues, Guitar Solos, Authentic New
Orleans Jazz. Write for complete catalog:
BLUE NOTE RECORDS, 767 Lexington
Ave., New York 21, N. Y.
USED RECORDS—$1.95 dozen, F. O. B.
Syracuse. All popular late records—
“DIXIELAND”
trumpet, clarinet,
ARRANGEMENTS for
tenor (optional trom-
bone) and Rhythm Section. Modern
“dixie”, exceptionally full—$1.50. Free
list. Red Fox, 1245 N. Vine, Hollywood
38, Calif.
SPECIAL 4-PIECE ARRANGEMENTS—
Standards, Pops, Piano, Drums, Trum-
pet, Tenor (or Alto). Chet Marrier, Esca-
naba, Michigan.
SPECIAL ARRANGEMENTS—$38.00. State
solo instruments you feature. Roy
eae. 717 South 17th St., La Crosse,
is,
YOUR SONG BEAUTIFULLY arranged
and recorded on the mighty organ. Sat-
isfaction guaranteed. Twelve-inch record,
$6.00. Send melody. Hanert Service, 11030
Hermosa, Chicago 43.
BANDLEADERS! Published songs by in-
mates of America’s state prisons! VAL-
JEAN MUSIC, Box 97, McAlester, Okla-
oma,
LYRICS?
Music?
leader !
Colorado’s dancer-poetess!
New Jersey’s grandmother band-
THESE THINGS YOU ARE TO
. 50¢ copy. VALJEAN MUSIC, Mc-
Alester, Oklahoma.
WE ARE NOT a fiy-by-nite concern, s0
send for prof. copies of ‘““Who’s Tellin?”
Rudolph Song Publications, Box 2462, Phoe-
nix, Arizona, Representing R. F. Kaiser
Music Distributors, coast to coast.
BANDLEADERS—vocalists, radio artists!
Write for professionals. Free! Address:
Valjean Music, Box 97, McAlester, Okla.
YOUR SONG PROFESSIONALLY
ranged with complete pianoscore and
guitar diagrams, chord notation. Price
is $10.00, and work is guaranteed satis-
factory or money returned promptly and
in full. Malcolm Lee, 344 Primrose, Syra-
cuse 5, ¥.
ar-
DANCE ORCHESTRATIONS: lowest
prices. Send for free interesting catalog
listing hundreds of latest arrangements.
Jayson Ross Music Co., 3438 De Kalb Ave.,
Bronx 67, N. Y.
PIANISTS AND TEACHERS: Add a
professional sound to your playing of
popular song hits. BREAK BULLETINS
prepared monthly by Phil Saltman, emi-
nent Boston radio pianist and _ teacher.
Write for details or send 20c for sample
copy. Kenmore Music Company, 581 Boyls-
ton St., Boston 16, Mass.
ARRANGEMENTS—Your song arranged
with complete pianoscore and — —
art 00. Professional job
rienced arrangers. ARNOLD ARRANG-
ING SERVICE, Box 236, Back Bay Annex,
Boston 17, Mass.
SPECIAL ARRANGEMENTS—made to
order. Records copied. Write for free
list. Charlie Price, Box 1386, Danville,
Virginia.
THE BEST IN SWING—Choruses copied
from records—all instruments—for pro-
fessionals only. DIRECT SHORT-CUT.
THOROUGH COURSE IN ARRANGING.
Burrows Music Service, Inc., 101 Stearns
Road, Brookline, Mass.
ON
NEW and
A BONUS
ALL
RENEWAL
SUBSCRIPTIONS!
no duplicates—our selection. Included with
Syracuse 4, New York.
, 2
a label records. usands
be mated upon receipt of
Tuttle Sales Co., 584 S.
Syracuse 4, N. Y.
RECORDINGS—650 Crosby, 650 Goodman.
Thousand all name bands. Thousands
greatest classic singers 1900-1925. Clarke,
Pryor, Sousa specialist. Josephine Mayer,
Santa Barbara, California.
Catalog will
25¢ in stamps.
Salina St.,
AUCTION—List sent FREE. Rare, shard-
to-get records. Ray Reid, 116% N.
Main, Greenville, S. C.
WEST COAST JAZZ CENTER —Holly-
wood’s only exclusive jazz store, mecca
for musicians and collectors. Now stock-
ing 80 different labels, including Commo-
dore, Savoy, Guild, Keynote, Bluenote,
Comet, Excelsior, Jump, , Jamboree,
Sunset, Asch, ARA, Crescent,
Philo, Musicraft, etc. TEMPO MUSIC
SHOP—5946 Hollywood Blvd.,
28, California. Opposite Florentine Gar-
dens. Hours—noon to nine daily. Catalog
10¢.
FALKENER BROS. RECORDS, 383 Col-
umbus Ave., Boston, Mass.
ARRANGEMENTS,
ORCHESTRATIONS, ETC.
BURNET’S CHORD
Complete on one
Pho No pages to turn. Diagrams
show root, fingering, harmonic construc-
tion for 450 commonly-used orchestration
chords. Ten kinds—all keys.
strictly legitimate instruction. $1.00. How-
ard Simons, Box 2058, San Antonio, Texas.
Suits RISTS!
ART for guitar.
JAZZ PIANISTS: Jazz figures for stand-
ards. Send stamp for list. STUDIO OF
MODERN PIANO, 245 Main Street, North-
ampton, Mass.
NEW _ SONGS—“WILL YOU BE MINE?” |
40¢ |
—“RADIO YOUR CARES AWAY”.
each (coins). Composing, Aseonaine.
Printing, Publishing. (Copies EE
PROFESSIONALS). KENNEDY MUSIC.
8 Seminary, Barre, Vermont.
WANTED—people who aren't afraid to
give an unknown a break! Re. co-
written and published a good en-
titled, IS THERE A SECOND HEAVEN ?
heet music copies are 35c each. Your
money refunded if you return copy and
state you don’t like it. I have prof. copies
and 16-piece orchestrations that I will
send free to professionals upon request.
(Lic. through BMI) SERGEANT BOB
MALLORY, DMD Valley Forge General
Hospital, Phoenixville, Penn.
A COMPLETE COURSE in Modern Har-
mony and Orchestral Arranging. 12
Texts, including Improvisation, Vocal
Scoring and Composition. For a limited
time only $15.00. Never before offered
at this low price. Miracle Series, 333
Provident Bldg., Tacoma 2, Washington.
WANTED: Sophisticated
ments or Pe y order for society
combo. lowest price. “Musician”
radio arrange-
Sta’
c/o Hahn, 0946 Barry, Chicago.
Hollywood |
Zi
issues:
meets
Ff er
ie a a S
DON’T DELAY!
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